Throughout the album Shaw plays with commanding narrative logic and pull. He’s never less than engaging on alto, applying his room-filling sound as much on a mournful ballad like Sister as on a coolly skittering piece like Conclusions or a beseeching exercise like Faith. (He plays soprano on two tracks, sounding lovely but less distinctive on that instrument: His tone betrays a close study of Branford Marsalis, which is mainly a problem if you’re primed to notice it.)
In his liner notes, Shaw observes that he drew inspiration from a range of sources for this album: deaths in the family, a televised ballet performance, works of art from the Brooklyn and Rubin Museums. But the album’s cover is more telling: It features a snapshot of Shaw holding a toy saxophone at age 2, implying that the “things to come” in the title are actually now in the process of becoming.
— NATE CHINEN, NY Times News Service