Cyril Moshkow, Down Beat, March 2002

Jazz of Four Cultures is a new festival that took place in Lodz, Poland's second largest city, on Dec. 14-16, 2001. The festival represented all four ethnical elements that formed Lodz's cultural heritage - Poles, Russians, Germans and Jews… Pianist Andrei Razin and the Second Approach Project represented Russia. One of Russia's most uncommon jazz collectives, it was created in 1998 to perform its leader's music on the sharp edge between jazz and modern classical music, with rich elements of different ethnic influences, brought to the Project's sound by singer Tatiana Komova who mastered Gypsy folk singing tradition.

Yuri Saulski, composer, people's artist of Russia, Moscow Jazz Agency president
Interview to the "Vecherniy Klub"  ("Evening Club") newspaper

...What "The Second Approach" is doing I consider to be folk-jazz. Certainly, that's a conventional term. I mean, the very nature of such games with the audience lies in folklore, but is jazz as well. It's not only what's happening onstage but also what's there going on down in the hall. The more the audience takes part in the happening the more jazz or folk nature it acquires. 
A great deal in "The Second Approach" art depends on the Razin-Komova duet, I should say. I guess Andrei's avant-gardes and Tatyana's ethnics being interconnected count for much as the whole project is based on this interrelation.
In fact, I just like them as a spectator and am interested in as a musician - "The Second Approach" touches my emotions.
As for the trio itself, I truly believe that their presence should be obligatory at any festival, especially at polystylistic ones.

Anatoly Kroll, bandleader, composer, people's artist of Russia
"Polny Jazz" #8

I was very much inspired by the trio. It's amazing how our "national" piano jazz is developing at the time. ...Razin's art gives hope when you're thinking of the music you've dedicated your life to. His music is deep, exciting and conceptual. I'm very surprised at the natural way Tatyana Komova took part in the project, as I used to know her sticking to a completely different artistic line.

Dmitry Ukhov, jazz journalist
excerpt from"Piero" CD review

At the first approximation, let us say, "approach", Andrei Razin's piano may remind of Mikhail Alperin or Sergey Kurekhin; Tatyana Komova's voice may sound like Christian Legrand's ("Swingle Singers").
Arkadiy Shilkloper's French horn could give you an image of transparent Alpine air, which is so characteristic of ECM sound; Vladimir Galaktionov might make you think of Miles Davis. But as a second approach you will differentiate both Indian vocal technique ("Prelude and Toccata"), Northern grace and Southern rhythm energy.
On the whole, "The Second Approach" is another step to the Truth - to the Art unlimited.

Tarek Chafek, Hessische Allgemeine, 5 November, 2001

Sie nennen sich „Second Approach", und schon der Name deutet darauf hin, dass es sich um ein Projekt handelt, um den „zweiten Ansatz", dargeboten von drei Musikern, die alle zwar aus Russland, aber aus unterschiedlichen musikalischen Richtungen kommen. Grandios ist das Spiel des Andrej Razin, der am Fluegel mit seinen praezisen Stakkati ueberzeugte. Voller Melancholie erklingt dazu der weitraeumige Vokalgesang von Tatjana Komova, eine Stimme, die mit ihrer Ausdruckskraft bisweilen an den Gesang von Lisa Gerrard erinnert, der Front-Frau von „Dead Can Dance". Kraftvoll erklingen die Bassfiguren von Igor Ivanuschkin. Der nach ihm benannte „Ivanuschkin Boogie" wird spaeter zu einem groovenden Duo mit Andrei Razin mit Anlehnungen an amerikanische Boogies wie auch an die Melodien russischer Volksweisen.