Camilia Nebbia: Colibri Rojo

Tutored by none other than Marilyn Crispell and Tim Berne, young pioneering saxophonist Camila Nebbia cannot be held totally responsible for her flexible idiosyncrasies. Surely both elders must have mentioned their ideas of musical reflexiveness somewhere in the laboratory.

Sketchy, skittish, lean and peerless, Nebbia rarely takes the chance to sweeten the pot. Instead she likes to stir, season, burn and bake whenever and whatever the musical moment presents. And they occur as often and as spontaneously on Colibri Rojo as they did on 2019's Aura or her trio free-fall with equally high- flying bassist akiva jacobs and pianist-vocalist Maya Keren on 2020's unforgettable In Another Night, In Another World (both odysseys digitally available courtesy of Eyes and Ears Records)

Always the punk (she was a punk bassist for starters) the energy and flare with which she aggravates or appeases her open aesthetic stems from there. After that, it all depends on when or where you or she are coming from that defines her sound. Hurtling headstrong into the contagion beside stalwart drummer-synthesist Axel Filip, Colibri Rojo is a spiky, twelve sound-cycle of edgy dispatches: curling, crying. Echoing out from another anxious moment in mankind, Nebbia and Filip tell their generation's origin story in both shout and whisper. Rendered by chaos at home and away, "Intransigente" finds the duo listening in as the elders convene. But quickly subversive plans are made with "En el alto desierto" and "Volada," and are carried out by the furious energy of "Hurón" and "Colibri II." Searching for a voice, the duo employ electronics, spoken word, effects and digital noise to alert us to the wildfires that are closer than we know.