With its third release, this European band surges onward as a floating collective that explores atonal sounds amid throaty whispers, split tones and much more. Here, Christian Weber employs close-handed bass techniques atop Christian Wolfarth’s free-jazz drumming approach. But the group’s methodology rings more like a transformation in progress. The musicians provide downright eerie undercurrents amid edgy maneuvers and radiant voicings. They integrate a seamless flow into the grand proceedings. At times, it becomes difficult to discern who is playing any particular instrument. Perhaps, this characteristic implicates some of the intriguing aspects, whereas the quartet possibly mimics the strangeness of life. In addition, the musicians impose jarring themes and asymmetrical boundaries upon the willing listener. While they also integrate near deafening silence into the mix. This latest installment of the ongoing saga signifies another slightly distorted view of movement, rhythm, and harmony. However it all comes together in an unorthodoxly beautiful manner. Recommended...
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.