As Stuart Broomer writes in his notes, the new Nabatov's recording consists of two solo recordings
made 18 years apart, the first a selection of Thelonious Monk compositions from 1995,
the second a concert from 2013 in which Nabatov first employed electronic technology in
performance to create a pitch-bending, — expanding and — fracturing double of the piano.
The result is a recording that explores time in multiple ways, whether looking at decades or
cycles per second, treating the experience of chronological time as both malleable substance and a special kind of consciousness.
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