Album Review: Pat Thomas & XT - Strata, Act (Joy Contemporary)* (2026; We Jazz)

(originally published at Avant Music News)

I don’t claim to understand it, but I don’t hesitate to recommend it. Strata, Act (Joy Contemporary)* is a sprawling collection of live performances from XT, the duo of saxophonist Seymour Wright and percussionist Paul Abbott, joined here by Pat Thomas on piano.

Strata, Act is ambitious across just about every dimension. Start with the practicalities: It gathers live recordings from Zurich and London, packaged as an LP (one set from Cafe OTO), a 2-CD set (some of the music from Zurich), and additional digital-only tracks. Altogether, it’s nearly three hours of music.

The trio is inspired by Cecil Taylor and Tony Oxley, but that’s a jumping-off point, not a target. The digital-only tracks are closest to those roots: Aggressive, insistent acoustic three-man improv. Thomas’s seemingly effortless virtuosity is on full display. Wright goes in for a bit of flashiness himself, though he usually sticks with simpler motifs that contrast with the pianism. Abbott makes comparatively little noise, but he pushes the group forward with one or two drums or cymbals at a time.

The “London FIRST SET” track is as good an improv set as you’re likely to hear this month. Yet it’s the most conservative, traditional music on this release.

All three instrumentalists work with electronics. The album notes coyly describe Abbott’s instruments as “real and imaginary drums.” Wright contributes “actual and potential saxophone.” With that in mind, “London FIRST SET” comes across differently. Now it’s the sound of artists straining at the limitations of their tools.

The longer Zurich recordings leave the fully-acoustic format behind. Thomas deploys all sorts of electronics; Wright puts his horn through a variety of effects; some of Abbott’s percussion is higher-tech than skins and sticks. In general, the more the trio shifts to electronics, the more reflective they get. Spaces take over. The flashiness is set aside.

And frankly, the electronica is less engaging. Clip a 20-minute segment of the double CD, and you don’t get anything like the immediacy of the acoustic trio. But the electronica isn’t meant to stand alone, not in performance and not on disc. This is a 166-minute release for a reason. The full span of “real” and “potential” instruments makes for a staggering listening experience.

The electronica is at its best when it overlaps with the traditional instruments. The core XT duo lives in that zone. Abbott’s electronics sound like some of his drumming: Without paying attention, you might not hear when he switches over. Wright is always on the hunt for raw, pared-down saxophone sounds, some of which seem to approach the acoustic/electronic boundary.

I’m not sure exactly how we’re intended to experience Strata, Act. The LP/double-CD/streaming split suggests it can be enjoyed in chunks. Yet it’s a single release, and the cumulative impact is greater if you can set aside three hours. Just one problem--a single time through won’t be enough. Thomas, Abbott, and Wright manage to hurl new ideas and concepts at the listener, as much in the 150th minute as in the first. Fully grasp it or not, however you choose to consume it, you shouldn’t miss this one.