On "Stygian Gates", Mother Brain, 2025
Symbiotique Nonet is a unique and noble beast, living in a suburb situated somewhere in the unsung wilds between modern chamber music and free jazz…
Crossing the cellular, process-driven nature of Adams' music with Coltrane's unbridled intensity, Webern-esque atonality and the glorious abandon of Charles Mingus' large ensembles, Eaton and company display a nuance and thematic depth that is personal and sincere without ever taking itself too seriously. Inventive, original, unmistakable and exhilarating to listen through, Stygian Gates is clever and deep, sure to inspire listeners and performers alike. "
-Max Kutner, Allaboutjazz, January 13, 2026
On "The Phenomenal" (Individuaton), Mother Brain, 2024
…In the case of Individuation's The Phenomenal it is probably an appropriate title for the album - to call it anything else would be to sell it short.
Eaton blows tenor as if he'd invented the instrument and added a couple of octaves along the way. Playing the whole gamut of the instrument, he's very much a musician living in the moment maybe even a couple of jumps ahead whilst occasionally looking over his shoulder to remind himself of where he came from.
[The two trumpet] chase on Multiple Worlds is as exciting as any trumpet battle I've heard since the heady days of JATP…
An extra bonus is the presence of Judi Silvano who adds her distinctive voice to a couple of tracks - Altarpiece No 1 and KC Counterpoint… Her intonation over a mega-wide range is spot on as is her articulation of the sounds she produces.
-Lance Liddle, bebop spoken here, August 16, 2024
"Many of these compositions sing with dissonance."
“Some of his music sounds quite experimental…This is a band and a composer who are reaching organically for a sound of their own.”
-Dee Dee McNeil, Making a Scene, August 16, 2024
On "The Transcendental" (Nicki Adams and Michael Eaton), Steeplechase Records, 2024
"Eaton’s big and wholesome tone is a plus here, and he uses it well on Joe Henderson pieces “Inner Urge” and “Black Narcissus” with Adams throwing red meat to the roaring lion. Adams’ “Tres” is a lyrical bopper, and his hands spread out on the patterned “The Capitalian”. The reflective “The Transcendental” suite is a sublime collection of ideas inspired by modern classical music, with rich communication between the two conversationalists."
- George W. Harris, JazzWeekly, August 8, 2024
On "Paraphrase" (Nicki Adams and Michael Eaton), Steeplechase Records, 2022
"This is the artistic ethos that informs this impressive debut recital of chamber style music which fascinates from start to finish.
…Though the music is unashamedly cerebral it isn’t without spontaneity and dash and there is plenty in the way of unbridled improvisation which is particularly evident in the final number, an Eaton original inspired by the philosophy of Edmund Husserl and based on "All The Things You Are".
It has a flavour of Schoenberg’s serial music but also elements free-form jazz and brings to a close a truly intriguing set of music from two talented newcomers of whom we are sure to be hearing more before very long."
Euan Dixon, JazzViews.net, September 30, 2022
On Symbiotique:
"While the hometowns ranged widely, this lineup breathed together in a profound manner, raising memories of the legendary New York Eye and Ear Control soundtrack. From the downbeat, Symbiotique claimed the room, a whisper-going-roar. Eaton's wide, bottomy sound shouted praise and angst and with Quass's midrange longtones cutting through Davis's battery of effects pedals, the sum was faultless. Minkoff, playing a Longhorn electric bass, pizzicato and plectrum, tangled with Cheli, a champion of dynamics, shading, and subtlety."
-John Pietaro, New York Jazz Record Review, June 2022
"These are musical conversations first and foremost, and one imagines what a fascinating spectacle seeing the duo perform live would be, but in more holistic terms the swirls of sound always seem to flow from a single source, as if a mysterious pressurized gas canister has sprung a leak or someone lifted the lid of the devil’s toybox for a bit too long. The sprawling “Plastic Capitalism” is a great example of this and a clear standout on the album; the momentum of the interplay that mounts in the first half is exhilarating, and even when the pair calms things down the music quietly but stubbornly persists, seeping under the doorway with a creeping hiss."
Jack Davidson, Noise Not Music, April 8, 2021 (reviewing The Maximal Effect)
"As a whole, Symbiotique is a riotous album, traveling through a variety of captivating sonic pairings and fiery melodies. It shines strongest in its moments of calm and its inherent intricacy; Davis and Eaton move in-sync throughout, creating a cohesion that’s necessary in enjoying music based on tearing structure apart. If Symbiotique is any indication, Mother Brain Records will continue to be a free improvisation and experimental music label to watch."
-Vanessa Ague, The Road to Sound, May 13, 2020 (reviewing Symbiotique)