Contemplative, richly textured and rhythmically fluid, the Jason Seed Stringtet creates a kind of classically-informed folk music. Or maybe it's folk-infused classical music. While much of what the Stringtet is playing on The Escapist could be loosely categorized as "new music," part of the band's appeal comes from their ability to produce tonal colors that are recognizably close to those of a traditional string quartet. Violinist (and sometime violist) Glenn Asch and violist Helen Reich are members of the Milwaukee Symphony. Each has extensive experience working in classical quartets; it isn't surprising that they're able to achieve the full-bodied sonorities they do. Still, it's unusual to hear such technical precision on an album that maintains a corollary pop sensibility.

Group leader and guitarist Jason Seed writes and arranges the music (he also writes lyrics and sings, although not on "The Escapist"), and he seems committed to drawing connections between what might ordinarily be seen as disparate idioms. "Pinch," for example, has an alluringly sweet melody, but it's ushered in with a long vamp that, were it not for the nature of the instruments playing it, is almost a funk line. But funk turns up unexpectedly throughout the program, almost always as counterweight to achingly lyrical themes. It shows up in "Strange Meeting," and again in the pared-down "Constellation Blues." Seed also likes to have his string players play unison figures that open up into expansively-voiced harmonies. "Poncho" uses this approach very persuasively. "Tango," with its ostinato guitar, twin stringed violin glissandi, and bowed bass theme, exquisitely played by Dan Armstrong, conjures up the music of Astor Piazzolla. The stately "Cathedral" is mysterious; played with great emotion, it takes its time to develop. The range of the music throughout is such that listeners will find special rewards in each composition. "The Escapist" maintains its interest from start to finish.

---Charles Farrell, eMusic