In the last five years, Colin Stetson has graduated from musical collaborator for many well-renowned bands (Arcade Fire, Bon Iver, TV on the Radio, Feist) to a respected artist in his own right. 2011's New History Warefare Vol. 2: Judges was shortlisted for the Polaris Music Prize and won widespread critical acclaim. Since then he has been fascinating audiences with literally breathtaking one-man shows of physical endurance and musical genius.

Last year's album with violinist Sarah Neufeld (also part of the Arcade fire crew), Never Were The Way She Was, saw Stetson spread his creative wings even further with a collaboration that combined his now trademark breathless saxophone exercises with Neufeld's ghostly string arrangements, resulting in an album which was experimental in sound, yet with a humanistic sentiment. Stetson has undoubtedly risen through the ranks, moving from the go-to horns guy for musicians around the world to one of the most beguiling avant-garde artists working today.

On one hand, SORROW - A Reimagining Of Gorecki's 3rd Symphony is Stetson's most ambitious project to date, the kind of album an artist of his caliber must always strive to create. On the other hand, Stetson's virtuosity is dwarfed by the size and scale of SORROW, and as a result loses what make's his previous work so captivating: the sound of one man, in one single take, making a single instrument sound like a heavy metal, industrial electronica orchestra.

SORROW is a rendition of Symphony No. 3 by Polish composer Henryk Górecki, a piece in three movements which deals with religion, struggle (specifically that of the Polish during Nazi occupation in the Second World War) and uprising: a compendium of Polish history in a cohesive symphonic sweep. Stetson stated that the piece had a profound effect on him. He wished to absorb every piece of the symphony each time he listened to it, inevitably leading to the moment that he decided to perform the score 'filtered through the lens of my particular musical aesthetic and experience'.

The result is impressive. The magnitude of the performance, featuring an orchestra of musicians who excel in avant-garde, experimental and instrumental disciplines (including members of A Winged Victory for the Sullen and Thee Silver Mt. Zion Memorial Orchestra), is vast in scale and production as well as ambition. Stetson's bass saxophone rumbles and provides the grounding for a legion of strings, synths, guitars and mezzo-soprano vocals. The symphony moves through Baltic waltzes and lamentations, repetitions and subtle increments of instrumental layers that swell and bulge turning into bombastic, furious walls of sound.

Colin Stetson has taken another huge artistic leap on SORROW, a project that's scale matches the ambition of its author. By assembling a group of musicians as talented as he has, and by replicating a piece of music that he holds such knowledge and respect for, SORROW should be marked as a creative success in anybody's books. However, whilst SORROW is clearly marked by genius, the scope and weight of this project is so substantial that the individual talent of a virtuoso like Stetson is somewhat buried, stepping back from the centre stage and once again filling the role of collaborator.