I got that feeling that the third Masaa LP brings establishment to already well-spoken band. Western -Arabic bond which characterise their development was fresh and breath taking to me from the first contact with the band’s music, the Freedom Dance. The previous Afkar was my favourite since and it remains favourite even today. Let me explain why.

The music here coagulated. Became more firm and mature, maybe by the feeling of the fluidity which came as well from being together so long, continue touring and simply recognise each other spiritual feeling on the go. That’s all good but I was happy with what I already heard previously as well. It was just a little bit different, more intuitional if you wish.

Now the band explores the same territories as it did before. The romantic piano remains accompanied with Kappenstein’s sensual drumming, which I like so very much. It is the driving force behind the Lahoud’s voice as I pointed before and that intimate bond is still there and works wonders for the band. Trumpet arrangements keep bringing windy and spacious openness.

Take lovely Miah composition as an example. It is all there. It remains pretty and I am hundred percent confident that every new-comer who heard that music for the first time will be delighted. I am delighted myself as it difficult to remain blank to Rabih’s voice, always emotionally fragile. Delicately balanced, but in the same time so powerful with the message it brings. But it is also the same on the challenging level for those who already know him, like myself.

What I am missing here in that mix of otherwise wonderfully played and beautiful music is kind of interaction with the life as it goes now. When I heard them first time in Berlin it was all fresh and striking. It was sign of time and an imprint of what’s happening in the European culture right now. That’s exactly why it was so powerful. The honesty of that message was what was getting me. Now times have changed during the last few years since their debut and the dynamism of these changes is noticeable but their voice somehow got stacked in time.

That means they lost this power of the messenger who is bringing the news. This flash and blood freshness which makes this music so authentic when it is there. Now I can’t sense it anymore. It became more like a pattern. Beautiful and pleasant but it is not the same. One might say that maybe I am just missing that lost virginity, sort of innocence which one can lose just once in life. Maybe so. But maybe not. I am not an adrenaline junky and I am enjoying adultery after even more. Perhaps that’s why I am now event more convinced and dare to say so when something doesn’t turn me on anymore.

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The young piano trio from Norway is the 3rd one on the Label’s catalogue after In the Country and The Espen Eriksen Trio, but philosophically they are also following the footsteps of another two compatriots: Helge Lien and Tord Gustavsen. Especially the last one appeals with its incredibly romantic and melancholic approach. Performing in the past with Arve Henriksen alike would fit into the sonic universe he represents but names like Nils Olav Johansen(guitarist) or Ola Kvernberg(violinist) shows huge versatility as those two are flirting heavily with various popular genres.

The track called You Stood There In Silence, Having No Words makes to me the best example of what describes the trio’s music. Here is a band co-operation at the best. Wonderful melodic approach with sophisticated drum framework, full of changing tempos and various dynamic tensions. Challenging rhythm patterns with full pallet of dynamic flavors. Piano sporting full dynamic range in this joyful conversation. Mostly hymnal, almost touching the lament side, fantastically sparkling and never losing its gentle melodic core. Absolutely fascinating. Bass on the other hand is a show of the maturity, with every sound being played wonderfully woody and with a perfect tension.

Coming after C&R brings the same maturity with careful listening to each other and responding to what comes rapid fire fast. Music might not be up tempo, pretty much is melancholic and laid back but the way they are building up culmination and then realize it with such a natural ease is mesmerizing. Here one can here that there is a lot of space left for the improvisation. I don’t believe that all the lines are written into the score really. I can sense this joy of tracing each other and bringing the spark to the surface. Drummer’s snare cannonades in that piece with phenomenally controlled dynamics between conversations with the piano are nothing but master class show off.

Another one which I truly enjoyed is improvised Time /Breath, with very contemporary spacious character, dark piano clusters and minimalistic percussion approach with creative play on the rims of the toms and cymbals and fantastically controlled and the dynamic tension dosed.

Leaving Home is kind of Jarrett  alike burlesque, again wonderfully dynamically executed with nice drive and perfect inner communication.

I like the way that tracks are mixed on that recording. You can listen to them randomly and they are nothing but the pleasure, but simply put this cd into the tray and just sit and listen without messing with an order and you will notice truly mature concept behind that. It brings the flow this way and the dynamic control of the recording becomes easier to understand. Plus, it shows another skill of the young pianist as a composer and an arranger as well and ability to control the tension by making the right choices.

That’s why closing Three Last Words, are making such a lovely outro here. Fading piano with gentle plunking, assisted by swirly bass lines and long-lasting sounds from triangles disappearing into silence in such a natural way leave the listener completely immersed to the tissue of the recording.

This trio is really speaking with its own voice and they left me with huge hunger for more, so I will stay alerted and will be looking forward to the next chapter to come – Not Nearly Enough To Being Done With Them.

Second album from the Echos of Swing – German Quartet led by British trumpeter Colin T. Dawson, playing traditional jazz music seems to be the perfect choice for the summer time review. Issued under the Good Time Jazz series, just like their Blue Pepper debut, it continues bringing nice and chilly moments to the listeners. It was laying around for quite a long time, so I did spin it to give it a go.

The music the quartet plays reminds us that Jazz, when it came first time was actually a dance music! All wrote for fun, entertainment and for people’s joy in general. From crazy barns where first the black plantation labourers kept coming after work to relax till the ballroom days when shiny brass band was playing music for couples enjoying dancing.

So we have here the Ragtime Dance f.ex., well known Joplin’s standard, played in full respect to the Rag tradition, but with a little Dixie drums treatment as well as nice stylish coloraturas added by trumpeter. The main band’s stylist who devoted long time in his life for researching this music tradition.

But we also have Miller’s the Moonlight Serenade. Stylish and gentle without big-band behind. Here Dawson also sings. So he does in Porter’s Dream Dancing. Funny enough his articulation reminds a bit the way that Chet used to sing, with a little melody lines twisted with almost whispered lyrics. Other way there is nothing else what would refer to the West Coast. Johnson’s All you Wanna Do is Dance, on which he also sings,  confirms his lack of mannerism completely. Here they play straight joyful Charleston and he sings in purely woodvill style as it belongs to the Art Deco era.

But band’s tribute goes further that careful and stylish interpretation of the Swing era music.

Here we have then an opening Hipsters Hop, composed by saxophonist Chris Hopkins, cleverly written piece in which he merges what Cool Jazz brought to the table into Swing-alike tissue. Still perfect tune to dance to. Another one called the Ballet of the Dunes is equally elegant Caravan-esque like sounding tune bringing memories of Tizol’s original. Wonderful laziness is pictured here with trumpeter’s lines played with plumber in. Slow Mambo makes you want to hold your girlfriend tight and close. What’s not to like ?

Additionally we have here some Latin influence represented by Diplomata by Pixinguinha. With a bit of up tempo treatment it became a fast Rumba, with brass lines refereeing to the original but piano and drums drifting towards pure Cuban Sol. So is Dawson’s wonderful solo in the middle of the piece.

No one would expect to hear the J.S.Bach’s Gavotte I from an English Suites book 6^th in that mix , but they did it too. You don’t have to believe me, just listen. As for Gavotte, even if it belongs to 18^th century, it still is a dance. And those gents gave it a treatment that would get your lazy four letters back on the parquet. They really did.  Check it if you are after romance with the charming melody lines in the background.

Gramss is well regarded double bass virtuoso and a great fame in Germany and worldwide. Those who are after music for Contrabasso must  remember his unforgettable duets with  Stefano Scodanibbio, his great master and as well as the other completing this series of recordings: Barre Phillips, Tetsu Saitoh, Mark Dresser, Barry Guy and William Parker to nail just a few of my all time favourites. His most current projects are Fossil 3 (with Rudi Mahall & Etienne Nillesen) and reviewed here Slowfox ( featuring Hayden Chisholm & Philip Zoubek).

All 15 titles on the disc make a perfectly sensible sentence when read as one lot without thinking:

And Those  Who Were Seen Dancing Were Thought To Be Insane By Those Who Could Not Hear The Music.  Could not be more truth. Except one, which is co-composed with the pianist, all music came from the leader.

While I know and regard Zoubek’s music from his Cleen Feed recordings New Zealand born saxophonist  Hayden Chisholm is completely new discovery to me.

I am listening to this music over two months now and I can not stop my fascination. The pieces as they come are hypnotising and are possessing a huge imaginative spell over the listener. I know that they are scored but I can not stop thinking about them as an improvised suite. The amount of spark inside of this music makes it to me equally fresh every time I am coming back to it.In fact I am still discovering this to be perfectly honest and more of that I would like this to stay like that as long as it is only possible. It is like a dream one doesn’t want to leave. It is entertaining with its versatility, changing tempos and twisted instrumental lines. In the same time it is calming down swaying you with blues harmonies and chord progressions inviting listener into intellectual tete -a tete. Everything inside of this trio is so well heard and responded that it merges into perfectly finished stories. I can’t find a single note which doesn’t fit the purpose and I am completely hypnotised by this. That’s said.

Zoubek’s voice in this dialogue doesn’t go far from his solo piano approach I am familiar with. Little preparation is present from time to time but his contemporary pianism is here little bit more on the melodic side to support the concept of music. His percussive approach covers the lack of drum-set successfully and makes the frame together with Gramms’ lines.

Leader itself is as always speechless. His play refers to many of his previous works and pays tributes to the greatest bassist he ever played with, a company which he truly belongs to. For the real Double Bass junkies like myself tracing this paths would be an extra bonus on top of already heavenly cooked dish.

Saxophonist is nothing shorter that congenial. His playing is simply amazing. Capability to articulate gently like a flute ,or using almost invisible vibrato on such a slow tempos there are weaved into that tissue are knocking out. Sounds are fascinating with his musical “ being well read off”. Smooth like Hawk or Webs he can immediately come to Lacy like articulate and lyric side ,to finish with Henderson-esque thrill which I hardly heard coming that close to the original from any one else. God , that man has a skill so huge that it makes me feeling like an new-bee by the fact that I never heard about him before. What more can I say ? It’s a Knock Out. Go and Get it !

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Sebastian Sternal should be well recognised on these pages as we reviewed his both Echo Jazz wining orchestral projects here as well as a calm and charming duo entitled Canada or quartet recording with his friend Frederick Koster. Here he continues to explore his fascination in jazz piano trio classic approach. And to make it even more exiting both of his partners are top piano trios members. Grenadier is a bass pillar of Brad Meldhau’s group when Burgwinkel is an extremely mighty drum-force  of the Pablo Held Trio, among the others.

As should be expected then those three are perfectly merged in together here and they are all feeling easy like a fish in a water. From an opening I am the Ocean intro’s however it becomes clear that it is not going to be another modal piano game. Sternal’s approach gains vastly from his symphonic landscapes and this path attracts his colleagues in crime vastly with their capability to follow whatever comes.

Go is a super modern piece with fascinating piano fingering coming more from the classical music than from choppy or beefy rich jazz school represented by others. Accordingly following bass riffs as well as spacious drumming are up to tempo. Additionally rhythmic landscapes set by drummer are the quality of its own .

Coming after Sand slows almost into the border of de-fragmentation. It’s almost like a piano tune anatomy lesson with the surgeons precision of drum bits lines precise like a scalpel’s cuts with the firm grip of the bass catch. Title piece takes my imagination from the piano trio territory to the landscape I remember from Pat Matheny’s Group with Sternal – Burgwinkel conversation bringing back memories of  dialogues between Lyle Mays and Paul Wertigo from his 70’s super-group.

Gravity comes as a more dance piece, but groovy passages that Sternal plays here holds on groups voice strongly. Following Winter gives more opened space for Larry to shine and his bass walk is here both, lyrical and incredibly charming. Jonas is a drummer that every bass-man is dreaming about. Sound-scapes he creates around the bass lines as well the ground prepared under the piano lines are striking like thunder. This is probably he most elegiac piece, reminding me with its intensity cooperation between Tord Gustavsen and Mat Eilertsen.

Allias falls into similar territory but bass had been given much more narrative capacity here, which had been very well used indeed. All of You , the only standard on this CD tributes its author obviously but as it comes from musicians like those here we are not getting usual approach based on the choral quotes. Pretty much opposite. Sternal with friends are acting here like psychologists researching the subject, dragging pieces of memories from your head, touching moments and referring to this secret associations which All of Us are holding inside of our most private inner space. It comes in a similar way as the Masabumi Kikuchi’s trio used to build up momentum. Quote with anti-quote, hold the line with minimalist touch but an incredible emotional tension.

I could continue finding connections and revealing paths for you another page but it would be sadistic to take all this pleasure out of you. Instead I am leaving it here as it is. Needless to say that what we are finding on this recording is a real treasure chest. Full of absolute erudition and understanding of what happened in the jazz and classical piano world during the last hundred years. Cherry picking from this Master Cake is a real debauchery for everyone who loves to rob Sweet- shops.

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Multi reeds and clarinets player Niels Klein is also a multiple musical awards holder, just like the rest of members in his Tubes and Wires quartet. As I mainly know him from his work with EJO I hardly had any exclamations once this music arrived. Watching instrumentalists there one would expect some electric jazz like approach perhaps ? But its a no , no.

With Burkwinkel on drums I am confident that they can play whatever they like. Remaining two musicians , guitarist and keyboardist are new faces to me as well, which is always a nice challenge.

Music presented here is quite extraordinary. It deviates from a jazz idiom significantly, exploring different sorts of fusion territory.  There are traces of rock and psychedelic influences, but also numeric reminiscences to the chamber music of the modernism era.

All is merged together in clever way bringing wonderful textures to the surface.

In a piece like Perpetual Waves for example we are getting some kind of alienation, almost sci-fi picture with the way the electronics is used to  co- sound with wind instrument. After the break guitar with connection with rocky drums extending it into a more psychedelic plot , but still the leader’s contra-alto clarinet supported by electronic effects are making a core of the tune.

Similar suspense like sound-scapes are coming from another tittle: Beams. Here the feeling of open space builds on the wave background supplied by Rhodes brings very holographic feelings. Camarudo changes that hang on laid back with speedy bravado theme supplied in fast tempos from the bass clarinet solo, soon joined by all band ride thickening the structure of the picture. More hymnal Gleam brings me memories of Arne Domnerus due to its bluesy and antiphonal character and a gentle harmony build between the clarinet and organs, but rhythmic section takes it back to the Scofield-esque aesthetic of his group from the 80-ies.

Closing tittle tune is one of the most attractive to me as it builds on lovely clarinet riffs joined by the grudge like section aka early bass lines from The Pixies. On such a background leader’s trips occasionally dialogue with Moog piano supplying wonderful musical tissue full of subtle tonal weaving masterly made by both musicians.

Same qualities come with an opening Launch Pad Disco tune which sets up the mood for the land of changes. Worn Out Lifelong Machine is probably the most challenging in that regard. Sounds coming from the synthesisers are merged with electronically modulated lines from clarinets in the way which makes is hardly possible to recognise what is what. On the other hand this enhanced octaves experience is like listening to the voice of the castrato, which is equally beautiful as it is unreal.

All together it is very unusual recording exploring a lot of virgin lands and bringing a charm of something new to my ears. Sonority of this acoustic- electric passages are spelling charm over the listener and engage an imagination. Simple beauty of the harmonies alone would be enough to be pleased, but the fact that they are also extraordinarily composed makes them timeless.

Five years on from their debut album ‘No Fiction Now!’, Fiium Shaarrk, the trio of Rudi Fischerlehner(drums),Maurizio Ravalico (percussion) and Isambard Khroustaliov (electronics) return with their second album; “We Are Astonishingly Lifelike”. The album documents various stages in the recent life of this continent-scattered ensemble, and was written and recorded in different studios between Berlin, London and various other European cities that have hosted the band for festivals and concerts.

Giving the fact that the two drumming gents both completed architectural studies would put some new light on that far from usual sonic proposition. Reviewing recently Khroustaliov’s colaboration with Tom Arthus I am well aware of his capabilities.

All seven titles on this recording comes with some memory notes which suppose to constitute the way that listener would deal with this sonic universe presented here , but TBH I would live it for everyone to explore for himself as words tend to have a different meaning to all of us . So do sounds. And here sounds are challenging, just like the cubic spirit of Architecture is.

As I mentioned above the drumming here has just such character. It is a conversation of two voices on one hand . On the other they are like two monologues. But it still counts as a verbal alike sort of communication. Or at least an attempt of having one.  Sound is very spacious and keeps flying and changing directions. Lots of that is probably trafficked like that by Isambard who is a kind of director for this spectacle. But solo voices of the two gentleman have both its own distinctive tone.

The music is full of re-verbs, remixes and changing tempos. It is mostly very rich and incredibly engaging and absorbing. If you loose your spot you more likely fall into the noise. But you can climb back soon. As it also has some melodic side. More calm and relaxed when you can actually rest and regain your powers back. I tried different approaches with this multi-layered tissues and I must admit that it never brings you back to the same place.

 It all depends on the mood of course and it is also a little bit like a light trapped in the complex building. It meets edges and and smooth surfaces. It sometimes soaks silky gentle way inside of the passed by layers. Other times it bends sharp. It forges the shape on the resistive contour. Catapults on that or decays gently fading.

Needless to say it is very narrative too. Those like myself ,who’ve grown on Laurie Anderson , Brian Eno , Harry Parch or Pierre Dørge like will trace a lot of influence coming from these directions. Other might hear a spirit of Cage or Hovhaness in it too. And it will be equally accurate.

This music is not for everyone, but it is brilliant and those who dare to listen to it will be greatly rewarded. More of that they will be coming back for more. Just like I do.

Norwegian born and raised bassist – (composer now), as one can say watching his quartet long time NY resident. His Overseas cycle started some 14 years back and this package is the latest one carrying number V. I am not familiar with all of them hence won’t comment on continuity. Judging from what I am listening to here I must say it is very eclectic on the one side , but on he other it really holds on its own and definitely represents specific style. Nine tunes last about 40 minutes and there is no gaps between them to random play so I am taking an order as it comes from the score.

Drummer Kenny Wallessen is well known to me from the numerous Knighting Factory collaborations and I heard him playing everything from Klezmer Bernstein’s formations to Bill Frissell’s country or jazzy folk alike or John Lourie’s Noir syle. Tony Malaby equally is a multi tasked figure on the NY scene with long membership in Hayden’s LMO and Motion’s EBB. Guitarist Brandon Seabrook and keyboardist Jacob Sacks seems to be related to KFW once you try to search , but both of them are new musicians to me.

Overall aesthetic sounds to me a bit New Age like. I can trace a lot of the New Order like bits. Dark side of Joy Division is audible to me as well. So are guitar cannonades reminding Brian Ferry’s Roxy Music or Talking Heads . Echoes of early Brian Eno’s electronic experience comes to me as well , a bit like No Pussy Footing or My Life in the Bush Full of Ghosts. All that music I’ve grown on hence it is not difficult for me to trace it.

But those are just ingredients, and those might sound familiar when a similar dish is cooked. It does have however its own taste. Musical inspirations of Elvind who is pretty much in the same age as my self does not surprise me.

From starting I am on this Step I like this a lot. There is a lot of the NY sound in it Not Just Knighting Factory alike, but in general. This intellectual twist which is also so present in Myra Myelford music or numerous John Zorn formations.

Hold Everything is Malaby’s show off. He rides his sax with incredible emotional intensity riding on the back of New Model Army alike rhythm section.

Extraterrestrial Tantrum is the most ghostly one. It contains wonderful lament played on double bass on a marching beat. Counterpointing piano ,alone or unison with sax are completing this cold Nordic aesthetic. This is like a mix of spacious ECM alike sonic universe walking around with New York-ish intellectual posh-ness hand by hand.

Brapps, crazy cartoon like piece of music makes me thinking about the Yello, but guitar lines here keep arguing with rich sax lines in the way which is far from the Belgian duos predictability. Again minimalist bass Arcos which are shifting gears among the lines are counter-pointing an easiness of the rhythm in some distressing way.

I am leaving a few others for your own pleasure of recognition then . Is it worth it ? For God’s sake – Yes! Very much so, it intrigued me enough to make me getting back to this music on the regular basis and inspired to dig back in time and learn more about Overseas.

Elvind Opsvik – Overseas V on Soundcloud

Every-time I see Mathias Loibner’s name I am immediately alerted. My admiration for this unpredictable musician is equally strong as my love of his art. It was no difference then when I have seen and heard the new Brot & Sterne formation he is a part of. On top of that, again, being familiar with trumpeter Franz Hauzinger after his duo recording with Derek Bailey and multiple appearances with London Improvisers Orchestra I found myself lost in front of the drummer Peter Rosmanith. Funny enough he seems to be the oldest here being 61 than two other gents ,who are slightly over 50 or a bit before.A challenge like that however always makes me happy.

As all musicians here are well matured then the reminiscence of the title to German meaning of the Autumn word (Herbst) or to its ancient meaning leaning towards the word Harvesting somehow started to swivel inside my head once the music filled it. It is probably Mathias’s hurdy -gurdy part responsibility as this instrument and the way he plays it always draws you back in time, especially if you are familiar with medieval harmonies. Kleines Halali would be the most straight forward example with its Celtic folk like melodic lines.

On the other hand the trumpeter’s approach in this project is strongly supporting that too. He doesn’t overuse electronics more than it is needed playing most of the time beautifully nostalgic plain straight line with a long notes and reduced vibrato. That is what builds a simple beauty of the piece entitled Erlkonig. Marching drum with a deep re-verb is all that is needed to bring you to the tears.

Drummer’s voice is equally meaningful here. Whatever he plays of : Hang, drum kit or different percussion instruments or possibly an objects too, it all comes as a part of the unison either that usual rhythmic approach. Rhythm belongs to the drums of course and it is still present there but here percusionalias are rather playing an equal narrative role instead just counterpointing the framework. You see ? And how to avoid imaginative associations like those I pointed above.

Compositions are utter charming, soaked in emotions and richly illustrative. One of my favourite is a slow burning bolero Da Havara Van Arava composed by the trumpeter. Dancing around it hang and stringy accompaniment from hurdy – gurdy are both making it incredibly emotional.

Charm of hang gets us from the first notes of an opening collective Aufbrechen. It carries on a simple melody in the way that piano would, with both trumpet and h-g weaving a lovely tissue around the rhythmic core, supplying a wonderful drive from the first to the last note. But tit is Rosmanith’s own Schlafmohn which brings a pure beauty of hang into your soul. Matching trumpet lines are making it all angelic and taking everything to the roof.

Following Sissi’s Dream looses his dance character towards more hymnal approach delivered by synthesised trumpet lament. Jungle like percussion accompaniment delivers an incredible sense of space which is additionally enhanced by electronically supplied more ghostly landscapes.

There is even a room for standard too. On that occasion Zawinul’s In a Silent Way. If you are M.Davis fan you will be seriously surprised to hear how the piece opens up here and how it builds. The leitmotif becomes clearly recognisable but the percussive chaos with the trumpet noises are for this creation here like the sea foam for the Venus birth.

That’s how those three reapers are harvesting from their inner fertility using both, their tools and experience for the best.

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It is difficult to not recognise Silke’s personal touch for someone like myself who is so familiar with her recordings. Accordingly the reason for that is exactly this tradition following path she continues to step on. As a die hard fan of Dolphy’s, Coleman’s or Mingus’ music I am finding the natural consequence in what she is doing. Additionally the fact that she made another recording with trio she long time co-operates with guaranties the flow that I like so much in her music. It took ten years to get back to Intakt but it was same worth awaiting for as it was a duo she debuted there with.

From an opening Ding Dong, which is a facetious act with its walk & door opening noises it takes one straight into the the serious game. You can hear that this section is a super comfort zone to her. She can fly high and she does it on the heart rate. Al that rhythmical figures that evolved from Dolphy’s tradition, she not only perfected and adopted her own style and sense of humour but also perfected conceptually. (Potsa Lotsa reviews’re here & here)

Following Willsau Suite is a longest piece on that set and it possesses this looseness in form suggesting it being vastly improvised. Silke leads here doubtlessly and the section follows with great feeling. Everyone has enough space to include the solo into the tissue. As well as contribute into fast running ideas coming to the table. Roder’s Bass sounds wonderfully natural walking with such a feeling of pace, which adds vastly into highly imaginative sax lines. The way the Drums comes together with framing space-scape embracing sax cannonades She blows out is nothing but genial.

Here is where complete Lubke’s Tour de Force takes place. And walking with Silke like that takes a lot of guts, believe me. This is also the best piece on here. Hugely imaginative and with quirky sense of humour. And some dirty jokes had being said between the lines too. Here tears and laughs merge into one. Tensions find perfect culminations and then realise back into an open space.

Additional piquancy comes from the short figurative interludes, which are acting like little brakes but also a foreplays: Schlappen, Towels, Wake Up Call and closing Last Order are all like that.

Funky named Mininatur explores the series of pictures gently sketched by Silke’s sax underlined with fat and dance bass walks. All that on the carefully brushed percussive background which is like a snowy-white page for them.

This, then 8915 and Verstecker Kitch  are all reminding me the mood present in Arthur Blythe & David Eyges collaborations. Or Julius Hemphill with Abdul Wadud, but obviously spiced and energised with Eberhard’s own temper. Ogh,…Yammy !

The Kanon, beautifully looped into the rhythmic repetitions from the section is a Bass Clarinet bravado wonderfully executed, but also highly demanding on partnering musician’s empathy and musical imagination. My absolutely 2nd best here. It continues in further triumphal clarinet walk in the Schirm. A dark suspense-ish theme stepping into the fade like Davis’ tunes composed for The Lift to the Scalfold, an iconic French Noir Movie.

This is fantastic recording which I continue to return to and listen for more. You wouldn’t believe how many layers are still waiting there to be revealed. That made one great soundtrack to ongoing holiday laziness spiced with an intriguing intellectual twists.

Just the way I love it !

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