Florian Arbenz: Convergence: Moon

For over 30 years drummer Florian Arbenz has taken his drumming style into new genres. His Conversation series produced 12 albums with 12 different ensembles and as part of the VEIN trio, he recorded eight albums, collaborating with Dave Liebman, Marc Johnson and Andy Sheppard. Classically trained, he has also worked as a percussionist in numerous concerts and festivals.

Florian Arbenz: Convergence is a series of cross-continental collaborations, Moon being the second album in the series. He initially met the Cuban brothers Maikel Vistel and Jorge Vistel nearly 30 years ago while studying in Havana. Reunited in 2019 by saxophonist Greg Osby, they have toured across Europe and South America and form a sextet featuring Florian's twin brother, pianist Michael Arbenz, Swiss-Australian bassist Rafael Jerjen and accordionist João Barradas.

The result is seven original compositions, influenced by Cuban rhythms and a strong commitment to improvisation and spontaneity. Arbenz using his drums as the framework upon which the other musicians can connect. The musical forms here are complex, but the recording style is loose and open with a light touch.

The album opens with "Preludio," where Florian Arbenz's crisp drumming sets the stage for Maikel Vistel's tenor saxophone to build a Latin-tinged melody, interwoven with trumpet phrases from his brother Jorge. Piano, sax and trumpet solos follow in this exuberant opener, each adding their flair to the track's energy. "Suite" takes a freer approach, with Barradas' accordion at times complementing the piano and at others jostling against it. The horns alternate between ensemble passages and solo flights, but the track ultimately feels like it never quite takes off.

"JM" moves in a different direction, with some fine tenor sax work, followed by a gently flowing accordion line punctuated with sharper, more angular interjections. The horns weave around each other as Jerjen's bass provides a lyrical undercurrent.

"Motion" develops gradually, starting with wide accordion phrases that lead into concise sax and trumpet solos. These lines merge with the accordion as the Cuban rhythmic influence grows more pronounced. "Wild Flower" drifts around a soft melody, supported by supple bass lines. The title track begins with a classically inspired piano before textures build through layers of accordion, sax and trumpet, culminating in Florian's dynamic drumming.

With its mix of sharp rhythms, virtuosic playing and spirited improvisation, the album gives each player the space to interact and respond off the other. It highlights Florian Arbenz's passion for rhythmic experimentation and searching into new areas. While the music ventures into complexity, it remains grounded by the moments of surprise and a strong sense of adventurous interplay.

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