"REX is a solo cello record written and recorded while I've been living in the former home of Rex Brasher, a self-taught painter who created over 1,200 watercolors of North American birds. Composed for acoustic and electric cello, the record reflects the solitude and intensity that shaped both Brasher's vision and my own process. Rex is not a portrait, but an echo-of a person, a place, and a way of seeing the world.

REX is a solo cello record written and recorded while I've been living in the former home of Rex Brasher, a self-taught painter who created over 1,200 watercolors of North American birds.

Composed for acoustic and electric cello, the record reflects the solitude and intensity that shaped both Brasher's vision and my own process. Rex is not a portrait, but an echo-of a person, a place, and a way of seeing the world."-Out Of Your Head

"A man left behind some twelve hundred watercolors of North American birds that forms the basis for imaginative music from a master cellist some sixty-five years after the painter's passing. For his first solo cello album Christopher Hoffman draws inspiration from the great American avian painter, author and naturalist Rex Brasher, composing and recording the music while living in Brasher's house. It's an intriguing juxtaposition of two completely different artists from two completely different eras.

A solo cello record might not sound like an exciting proposition for some, but Hoffman puts the instrument at the forefront of modern music generally, and not merely some certain idiom. Thus, REX isn't a 'jazz' record per se, it's a collection of vignettes or slightly longer pieces showcasing the surprising range of timbres, colors and virtuosity applied to the instrument. And, ingenuity: Hoffman is often leveraging an electrified cello and using looping and other electronic effects to extend the range of sounds and take the cello to new places.

The gadgetry is effective because the results aren't gadgety. Hoffman understands that the composing has to be of substance to make the music leave a lasting impact. That's where Brasher's ghostly presence and his artwork come into play. Sometimes Hoffman creates simple repeating figures and other times folk-like melodies and even miniature symphonies in a couple of instances. It's all well-conceived and leaves a mark, even when it doesn't last for two minutes.

"Snow Owls" signals from the start that Hoffman isn't just flexing his cello skills, he put together real harmonies that resonate. The 'lead' cello has a lyrical quality to it akin to singing.

Hoffman effectively manipulates the electronics effects at his disposal, opening up new vistas for what's possible on a cello. Turns out, just about anything is possible. He's able to make octaved notes loud on "Buffalo Mountain," while "Saboteur" is led by overdriven fuzz that serves as a bottom-fat bass line. "Heavy" is downright funky. How often can you say THAT about a cello-only performance?

Sampling and looping are hardly on the cutting edge anymore but Hoffman has a way of making them sound natural, as he does so effectively for "Resting Place."

Sometimes the 'effects' come from layering and overdubbing himself, creating a virtual ensemble, as is done for the chamber piece "The Babbling." Other pieces are clearly more melody-driven; for a number like "Spindrift," all of the interacting cello parts Hoffman puts together serve the song. The same goes for "Rex" only Hoffman also invests some passion into his singing lead part done on an unaltered sawing cello.

"Steer Home" is only one of three pieces that run significantly over three minutes and for this occasion, Hoofman put together three distinct sections whereby the fuzz-cello is the lead voice in the first section, another section put together by hypnotic loops and the final part an assimilation of a different set of loops that end the whole program abruptly on a strident note."- S. Victor Aaron, Something Else Reviews