Parker is an inspiration to this one too – specifically ‘Charlie Parker With Strings’, a brilliant conception of an album in its time that really required the next generation of jazz composer/arrangers to make it work. Now that we are three generations beyond that, this incredible disc by Potter’s Underground orchestra is what Charlie Parker paved the way for, even if he could never get there himself. […] The result is utterly spectacular, I think. It’s a disc that is completely fresh and idiomatically only itself, with great solos all through it, not least of all by Potter on tenor and soprano saxophone and bass clarinet. […] one of the best things he’s ever recorded in a still-young but immensely prolific recording career […] this is one of the great jazz discs of 2015 no matter what else happens.
Jeff Simon, Buffalo News
Despite the huge line-up of musicians, the sound on ‘Imaginary Cities’ is very atmospheric and quite gorgeous, rarely veering off into 'big band' bombast like so many of these types of expanded line-ups do, though this band can create some thunder when they want to. […] A very enjoyable collection of orchestral, atmospheric jazz from Chris Potter and his new band. A job well done!
Pete Pardo, Sea of Tranquility (five stars)
With hints of chamber music, funk and world music,’Imaginary Cities’ feels unbounded, as if Potter was unafraid to incorporate all of his musical interests in one package. There’s lots of novelty and knotty complexity in the settings, but also familiar arcs as the soloists and the songs flow to their strong conclusions so that a listener can ride the waves rather than be swamped by them. Put it all together, and you have a potent, bristling example of what a fearless, world-class artist is capable of.
Peter Hum, Ottawa Citizen
Chris Potter has created a work of immense scope here, though some might quibble about the use of the word orchestra for an ensemble of 11 musicians. But what tremendously rich soundscapes, and what broad emotional range, the saxophonist and bass clarinetist has created on the eight tracks of ‘Imaginary Cities’. […] Strongly recommended.
John Watson, Jazz Camera
Gleich zwei Bassisten sorgen für eine starke rhythmische Grundierung, ein Streichquartett, zu dem der Geiger Mark Feldman gehört, sorgt für emotionalen und ästhetischen Überschwang. Ein frühes Meisterwerk eines noch jungen Jahres.
Rolf Thomas, Jazzthing
He stretches his compositional palette to encompass a string quartet and an expanded version of his Underground quartet. The result is a triumphant integration of diverse elements that alternately soars and dances.
James Hale, DownBeat (4 ½ stars)
The world-class contemporary sax-colossus Chris Potter seems to be something of a late bloomer in terms of his recordings as a leader […] the elegant arrangements and ensemble performances are first rate and it slowly reveals more layers on repeated listening.
Selwyn Harris, Jazzwise
‘Imaginary Cities’ is a breakthrough for Potter as composer, arranger and conceptualist. The title piece, a four-movement suite, portrays Potter’s ‘non-specific utopian ideas’ about what modern urban life might be. Its richness and depth are stunning. […] The suite also provides unprecedented inspiration for Potter the soloist. He has never played on record with more focus and power.
Thomas Conrad, Jazz Times
Das Resultat überzeugt, weil Chris Potter nicht wie so viele andere Jazzer, die mit Streichern liebäugeln, sie nur als samtenen Soundteppich verwendet oder die Formationen einander gegenüberstellt. Vielmehr formt er sie alle zu einem spannungsvollen Ganzen, in dem arabische und indische Elemente ebenso anklingen wie – in ‚Shadow Self‘, einer von vier weiteren Kompositionen, welche die Suite ergänzen – die Musik Béla Bartóks. Das ist nicht mehr ‚Charlie Parker with Strings‘ – ein Album, das Potter bewundert –, sondern etwas Neues, im Wortsinn Unerhörtes.
Manfred Papst, NZZ am Sonntag
Moving from free-form jazz to dramatic, emotion-laden sweeps of classical music, there is a tremendous range and sense of adventure across the 70 minutes of instrumental music. The title track, an expansive suite of four movements, has a music narrative all of its own, with Potter’s sax drawing warm melodies over the first-rate ensemble he’s assembled. […] With its freewheeling ambition and positive energy, ‘Imaginary Cities’ is a huge accomplishment.
Ian Sinclair, Morning Star
The music – centering on the four-part title suite – is expansive and palatial, richly textured and bold, without ever falling into overreach. Potter balances tight composition and improvisation deftly (the solos on ‘Sky’ are penetrating), presenting a unified work whose grandeur can’t help but envelop.
Jeff Tamarkin, Relix
Potter’s melodies, which come in and out of play, seem created expressly to give the soloists room to fly. There’s a lot to listen to here, giving the listener plenty of opportunity to focus on various aspects of the compositions and performances. The architecture is spacious, allowing the themes to develop as well as the players’ in-the-moment inspirations […] A quiet fire pervades, yielding new delights with each listen.
Juan Rodriguez, Montreal Gazette
