"Forges’ sonic geometry is such that the trio members try to avoid expected musical tropes or textures. Without a bass player comparisons to Modern Jazz Quartet-like ensembles don’t exist either. Instead many of the 10 tracks work on some variation of harpsichord-like vibe tones trembling often delicately alongside measured piano chording that open up the exposition. Quiet and reflective interface is most prevalent with moderated keyboard tinkles, cymbal claps and reflective vibe rebounds. However these are prominent so often that sameness is only avoided by a hair’s breadth. Some tunes that move at a funeral pace threaten to cross that line. On a few instances such as “Gla” and “Débris III” the tempo becomes faster and more violent or in the case of the second, a group improv, architecture stretches to add pops, rebounds and odd squibs from Kummer’s manipulation of toys. However Mastorakis’ bow-on-metal bar expression is used so sparingly its nearly inaudible. “Jeu” is the most fully realized piece as the vibraphone carries the melody into story-telling mode, as piano key pressure meets wood block smacks and drum ruffs to open up the exposition.. Even as the narrative doubles in speed, percussion pressure and echoing vibe pops still reflect the basic delicacy of the program. This is confirmed on “Jeu (postlude)”, several tracks later, as piano key tinkles and percussion plops reassert quietness and delicacy."
Ken Waxman - Nov. 20, 2023
JAZZWORD
