Paris Transatlantic

There’s an economy and clarity of line to his own playing that connects him to a long line of less-is-more jazz musicians, from Frankie Trumbauer to Bill Dixon, via Lester Young, Jimmy Giuffre and Chet Baker.


Não se espera de Toral a lealdade a máximas teóricas; ele é fundamentalmente um artesão do empírico à procura do futuro.

All music guide

For listeners familiar with his previous works the shock is brutal, but once you get used to the retro-futuristic sound palette, the composer’s touch starts shining through: skillful thematic development, dizzying passages, nice contrasts between activity and calm.


ゆらめくようなサステイン・トーンの渦は、なんとも官能的でさえもあり、それは10年以上も前の音源をコンパイルした本作でも変わらない。が、最後にいわゆる通常のギター即興も披露しているところがこの盤のポイント。 西山伸基




Тораль использует электрогитару как генератор звука, его импровизациям присуща высокая степень риска – то есть во время игры происходят вещи, которые заранее предусмотреть невозможно, иными словами аппаратура ведёт себя непредсказуемо.
Это его четвёртый соло-альбом Тораля, на нём – короткие пьесы мастера, импровизации которого могут превышать и 20 минут.

The Guardian

a gorgeous sensual timbre that hardly depends upon any conventional harmony, melody or pulse at all. The sound flows slowly from one grandiose texture to another.

Signal to Noise

So many artists aim for beauty and come up with mere prettiness; on “Violence Of Discovery And Calm Of Acceptance” Toral hits the target

Vital Weekly

Delicate pieces and Toral succeeds well in doing his great things in a short context too. Beautiful stuff.

Chicago Reader

Rafael Toral’s Wave Field (Moneyland, 1995) and Violence of Discovery and Calm of Acceptance (Touch, 2001) are two of the most gorgeous records of guitar music made in the past decade – and part of their beauty derives from how far they venture from the familiar language of the guitar.