If you have any affinity toward the new jazz, as it was once called, or free jazz, you will be drawn immediately into this disc. Three like-thinking musicians went into St. Peter's Episcopal Church in Manhattan, started playing in front of two micro-phones and four hours later, this disc was finished. But from listening to the solid ensemble and solo work and to the absolutely lifelike realism of the recording, you would have thought this to be a long-labored, mega-studio production.

There is a bit of the energy and feel of Ornette Coleman's classic sessions, especially in the opening tune, "Vitamin C," as Colley's strumming bass and Erskine's light drum work underpin a lithe, lyrical alto statement by Epstein, a very solid player whose name is not familiar to most, but inevitably will be someday soon. And the almost mirthful and downright melodic drum introduction to "Meanwhile" is ample evidence for Erskine's well-deserved reputation: as the other two musicians slink into the action, the laid-back, ultracool mood of the piece offers plenty of room for everyone to stretch out admirably.

As for the production, I can't say enough about producer and engineer Todd Garfinkle's minimalist approach, done simply with two microphones and a 96kHz, high-sampling recorder. I've never heard an M*A record yet that didn't give me goose bumps for its holographic realism. I wish every jazz producer working today would pay attention to this guy-the jump in sound quality would be geometric.

Mike Quinn - Jazz Times

Old School features three of the most adroit group players on the scene in recordings of great spontaneity and informality. Peter Epstein - whose previous credits include albums with pianist Michael Cain and drummers Jerry Granelli and Carola Grey - spearheads the group's sound with his multi-textured alto work, which is fruity in the low register but also capable of everything from warbling sonorousness to shrill plaintiveness. And the seven subtly restrained, quietly complex originals, two free improvisations and single plangent ballad (Duke Ellington's affecting 'For Harry Carney') benefit greatly from the unusual responsiveness and sensitivity of Scott Colley and Peter Erskine. Discursive and adventurous, and frequently hovering on the edge of abstraction, this is by no means easy-listening music, but it richly rewards close attention.

Rough Guides - Music