Floriculture has been performing in New York City since 2001. The band's sound is the result of Carl Maguire's involved compositions being realized by the rarefied musicianship of the members. Stephanie Griffin is a preeminent new-music virtuoso in New York, her non-jazz approach is a rich part of the band's sonic palate. Oscar Noriega, drawing on three instruments, has a great balance to Stephanie. The two of them have a lyricism even when the music calls for clawing and moaning. John Hebert is perhaps the most steeped in Jazz of the group. He has played with many older and venerated jazzers (including a long relationship with Andrew Hill). Having that depth of history and soulfulness in the bass chair is a blessing. Dan Weiss has been in deep study of tabla for the last ten years. He has phenomenal rhythmicity and huge ears. Each of these musicians have a profound sensitivity to timbre which lifts the music more than it ever was.
The band has developed a kaleidoscopic and tactile sound in Maguire's rhythmically sensuous music. According to Nic Jones, "The fact that this quartet is apparently a working band is abundantly obvious. The program of music they perform comes entirely from the pen of Maguire, and such is the organic nature of the band that the impression is of music written with these particular musicians in mind... For a group of this size and makeup, the music they make is no little distance from what might be imagined... this music is profoundly a group music."
Overall, this music aims to envelop the listener in a distinctly sensual space where sound magnifies, stretches, and churns our perceptions. As Budd Kopman says in All About Jazz, "the composed sections appear, then blend into the improvisations, which then mutate back into composition. No sharp lines demarcate anything, and 'Denizen Green' is a major statement of compositional technique and improvisational ability. The band shows itself to be an organic unit that evolves with the music. Each piece gives no hint where it is going to go, creating a palpable tension as the [music] proceeds, since the sense of compositional unity created by the theme keeps building, while at that same time that same feeling is being pulled apart by the improvisation of the players."