"Harle writes exuberantly"
The Guardian

"Harle’s style has an integrity all of its own."
The Guardian

"Harle’s compositions are testament to the extraordinary versatility of this brilliant saxophonist."
The Independent

"The music of John Harle is very fast moving, urgently collaborative, often witty, sinewy, ironic and urban."
The Guardian

"John Harle’s music is complex, darkly humorous and full of ear-catching quirkiness. You’re bowled over by the variety, energy and sheer size of Harle’s music. It merits every ounce of the effort put into it."
The Washington Sunday Times

"Harle’s music raises fascinating and controversial questions about categorisation, influences, correspondences and resonances, breaching normally well-policed frontiers"
Classic CD Magazine

"Three gorgeous songs by John Harle sung by a totally credible Elvis Costello are only the most conspicuous highlights of saxophonist Harle's latest genre scramble. Harle combines all manner of classical, jazz, and pop players, but his own commanding musicianship and audacious composing act as this record's solid cement."
Entertainment Weekly USA

"Harle gallops across his musical terrain with the attitude of Axl Rose. Terrifyingly extreme and magnificently audacious, Harle is a powerful force in British jazz and pop, and has the integrity, passion and vision to challenge listeners"
Esquire USA

"With the receptiveness and intelligence of saxophonist John Harle, he shows just how enjoyable the exploration of unfamiliar territory can be."
The Times

"Harle - the Alchemist of Ambient Soundscapes"
The Guardian

"Terror and Magnificence it is very probably one of the finest suites to have come from the pen of a British composer in recent years. Harle is a virtuosic saxophonist but his writing talent is clearly as significant. A triumph all round."
The Herald

"John Harle’s lushly harmonised and ecstatically passionate cantata, City Solstice: A Love Song for London Bridge, followed. Its text, by Tom Pickard, alludes to a violent episode in Saxon history, and to the nursery rhyme it inspired: London Bridge is Falling Down. Harle quotes that but throws in much else: a soaring treble solo; echo effects; jazzy breaks for his own soprano sax; and much lyrical writing for the Choir of King’s College, Cambridge, which performed stunningly under Stephen Cleobury’s direction."
The Times

"John Harle's lurid The Little Death Machine, premiered in the late-night Prom, was full of spark as the saxophonist-composer's solo soared, blasted and panted over ghoulish riffs, swooping samples and a manic orchestral dance groove. This now formidable creative figure often functions best in mixing genres. "
The Independent

"Harle's exuberant, rhythmic take on a Jake and Dinos Chapman sculpture in Tate Modern gave him much opportunity to show off his own amazing virtuosity. "
The Evening Standard