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The respective musicians who comprise this trio inadvertently broaden modern jazz horizons, with this lovely outing inspired by Bela Bartok’s progressive piano pieces. In addition, these gents represent some of the younger and more successful New York based artists who frequently enjoy first call session status. Nonetheless, this production resides within avant/chamber jazz stylizations primarily due to the band’s delicately fabricated and thoroughly melodic treatments. On many of these pieces they abide by a doctrine founded upon intricately devised three-way dialogue and gently rendered ostinato motifs. At times, the music is so fragile; illusions of weightlessness may come to mind. With “Kidsong,” (inspired by Bartok’s 106 Gyermekdal), pianist Russ Lossing executes a simple childlike motif in concert with Adam Kolker’s contrasting bass clarinet work. The trio parallels some of Bartok’s Hungarian folk oriented musings via breezy jazz passages and brittle frameworks. An air of enchantment prevails as the group effectively transcends notions of familiar classical/jazz type fare by providing a seamless renovation of fundamental concepts. No, its not earth-shattering or revolutionary yet the unpretentious scenario, filled with subtle delicacies and ringing harmonies, provides the blueprint for success. Recommended...
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.