MINUA: In Passing

There can't be many trios made up of bass clarinet and two guitars; in fact, I can't think of another one. MINUA, a German/Icelandic trio based in Basel, Switzerland, makes it sound like the most natural combination in the world. The trio members met during their studies at the Jazzschool in Basel. They quickly felt a deep connection, followed by concerts in Switzerland, Germany, the Netherlands and Iceland. The band cites many influences: Renaissance and Impressionism, Nordic folklore and chamber music, jazz and avant-garde. It's a group sound above all, with the roles of soloist and accompanist in constant flux.

As the title implies, the opener "Sequence" is pattern music. The two guitars are joined by bass clarinetist Fabian Willmann's key clicks, resulting in a surprisingly percussive sound for a group with no percussionist. It's very much a chamber jazz sound otherwise, with electronic effects used sparingly.

It's not until the third track, title tune "In Passing," that an over-driven guitar is finally heard. It plays lines in unison with the clarinet, then there's a striking electronic soundscape coda to end the piece—a notable contrast to the acoustic sound up to then. "Þunnur" uses some electronic swells to add to the texture as the other guitar accompanies the clarinet's melody line; and "Brennivín" shows the group's sensitivity to dynamics, as soft, melodic music moves into clarinet squeals and loud distorted guitar, finally giving way to a quiet ending. The set closes with "N57," a singing, ballad-like tune.

At thirty-four minutes this set would have to be considered an EP by contemporary standards. But there's something to be said for brevity, and for quality rather than quantity. MINUA's debut is a very satisfying listening experience.

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