Tim Daisy - Streets In Time (Relay Recordings, 2013) ***½

Reviewed by Joe

Great to see a Tim Daisy album, one of the best drummers around (in my humble opinion). This is not the first record that Tim has produced under his name, if I understand correctly it's number seven in the Relay Recordings series - check out Tim's website to see the other recordings, often duo projects, but not all. On this album Tim has chosen a strong team of players; Taylor Ho Bynum (cornet), Steve Swell (trombone) and John Herbert (bass), all top performers on their instruments and well known throughout the modern music world as leaders in their own right. It's also an unusual combination with two brass for a front line, but it works very well.

Since we didn't get any information on the recording I can't say who wrote the six tunes on the CD, however they're all fine pieces with plenty of scope. The music falls into the free/composed sector, groups such as Vandermark 5, The Engines, Atomic, Motif and others are all proponents of this style where clear melodic structures are used and fused with free improvised techniques. Out of the six tunes on the record only two "Come to Rest" and "Giving Back" are out of tempo, the others all find a groove at some point and often some chord structure or ostinato figure. 

"Loud Noon", the first track uses a bass figure similar to the one used in "Night in Tunisia" to underpin the melody. It then builds a fine swinging atmosphere built on a non resolved chord which launches the two front line brass players. "Come to Rest"(tk2) is a cleverly placed impro' which segues into the title track "Streets in Time"(tk3). This artfully built piece has several subtle ideas which allow the two horns to develop solos. The first over a fine improvised cornet/drums duel. The two are gradually joined in the all out melodic 'ruckus' finally giving over to the trombone to develop a more harmonic area.

Tim Daisy uses his musicians to great effect by giving them plenty of space to express themselves. On "Inside A Room"(tk4) he lets the music unfold carefully over the eleven minutes, giving space for a bass solo, a quartet dialogue section, a trombone/bass/drums fight, a cornet/bass/drum dance, a drum solo and a final melody with bass, cornet and trombone playing peacefully over the soloing drums. 

The last two tunes are equally exciting as the earlier pieces. The open improvisation and gentle theme of "Giving Back"(tk5) and the wonderfully strong bass solo which opens "Distance"(tk6) shows how strong this group of players are, all are able to swing or throw caution to the wind and abandon structures as needed. The rhythm section always attentive to move in any direction whilst the 'blowers' give plenty of ideas for their team-mates to work with.  

The whole album works perfectly with no low points and never a dull moment. The recording quality is also a plus, fine attention to detail from each instrument goes to make this album a great listen. All the players hand in stellar performances, as one would expect. If you enjoy plenty of swing, melody and quirky music you'll definitely find it here.

A tag musically could be Elton Dean's Ninesense.... minus five musicians, naturally!    

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Two Sides of the Same Bill

Bill Frisell - Silent Comedy (Tzadic, 2013) ****

By Paul Acquaro

Though not his first solo guitar album, Silent Comedy seems to be a pretty radical departure for guitarist Bill Frisell. While some of his recent recordings like the subtle and sublime Beautiful Dreamers and Signs of Life featured mostly Americana influenced compositions, and the excellent All We Are Saying explored the music of John Lennon's, this is a much more experimental record.

Using just guitar and looping effects, Silent Comedy is an improvised event that eschews discernible themes and typical song development, and is comprised of evolving ideas that are manipulated at whim. The opener "Bagatelle" starts with some chunky comping that listeners may identify with the guitarist, but it soon fragments, and snippets of sound begin shifting and colliding unexpectedly. The following "John Goldfarb, Please Come Home", the longest track, begins with a barrage of noise, then ushers in a mix of textures and both organ-like and traditional electric guitar sounds. The short title track welcomes back some identifiably Frisellian guitar sounds, but unlike the composed pieces on other recordings that may use similar devices, the fragmentation and unexpected arrangements breathes with new life. 

Silent Comedy is a must listen for Frisell followers and fans of experimental guitar. Not an entry point to his prolific discography, but a rather welcome divergence.

JP Schlegelmilch -Throughout: The Music of Bill Frisell (SteepleChase LookOut, 2013) ***½

The connection between these two recordings is of course the music of Bill Frisell, but something interesting is happening in the translation. Schlegelmilch's approach to the Frisell's compositions -- by transforming the work to solo piano (an instrument which appears rather infrequently in Frisell's work) -- fills in some of the more minimalistic tendencies and angularities, giving the songs a whole new musical perspective. 

The title track "Throughout" begins appropriately with the lovely suspended melody left fully intact. Recorded by Frisell on his debut album "In-Line", Schlegelmilch's interpretation retains the original's spaciousness and clarity, but expands on its beguiling nature by filling in the open space with more lush voicings. Next up, "Rag," probes both the rag-time and classical implications of the song's catchy theme. Again, the pianist does not just regurgitate the original tune, rather he does some reconstruction and plays off the underlying structures found in the original pieces. "Deep Dead Blue," from Frisell's collaboration with Elvis Costello, is a moody piece that ends the album longingly.

Throughout: The Music of Bill Frisell separates the songs from the guitar, presenting them in a new light. The playing here reveals not just some new aspects to a set of songs but showcases Schlegelmilch as a thoughtful pianist with fresh and exciting ideas.

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Kris Davis - Capricorn Climber (Clean Feed, 2013) ***½

Reviewed by Joe

I remember reading Stef's enthusiastic review of Kris's Rye Eclipse. It's one of the great classics in the free-composed genre, an album more than worth checking out if you don't know it. Here she is again in large formation, something that really suits her great composing skills. Her group is made up of Mat Maneri, viola, Ingrid Laubrock, saxophone, Trevor Dunn, bass, Tom Rainey, drums and naturally Kris Davis, piano. It's a good combination that really gives her compositions a chance to breath and at the same time has a depth of sound. 

The opening notes of the album jump out at you making me think of King Crimson's David Cross pieces/period due to the violin's eerie presence. It's an atmosphere that pervades this album. Fine textures that develop within the group, 'spectral' would be a good term (if we were listening to contemporary classical music). The fine detail that the musicians put into the music is amazing not unlike a painting from the Flemish masters! "Too Tinkerbell"(tk1) the opening piece bravely settles into a group impro from the very start, yet underneath there is clearly a logic which only emerges after about 3 minutes. The wide open choice of notes that make up the theme give time a suspended feeling as if you're floating. This is a style that Kris Davis uses often, introducing notes into her pieces whilst the group improvises around her. A bass line that seems abstract suddenly becomes a melody, the drums seemingly flay around, yet they are a precise part of the melody to come, and so on.

It's nice to hear Ingrid Laubrock playing in a 'melodic' situation. Here she gets the chance to display her line playing to good advantage. Along with Matt Maneri's viola the two often complement each others improvisations to create some very delicate music. The rhythm section of Tom Rainey and Trevor Dunn give a fine performance also. The two players are able to give the impression of complete freedom whilst sneakily heading towards a common goal. Listening to these two players, combined with Kris Davis's piano you start to realise the complexity of some of the compositions. If a piece is rushed too much it would loose it's qualities and the rhythm section plays it just right. "Trevor's Luffa Complex"(tk3) is just such a piece. Starting with a bass solo the group gradually climbs on board until everything is in place, just in time before a strong theme explodes at the end.

Most of the pieces function in this way surprising the listener constantly. It's a style that makes for detailed listening over and over again. Details or structures that you hadn't grasped at first become clearer with each listen, as I already said it's like looking at a highly detailed painting - even Where's Wally for music! "Capricorn Climber"(tk4), "Pi is Irrational" (tk7) and "Dreamers in a Daze" (tk8) all have splendid improvised sections that build up over time, everyone is featured in there own fashion. At the same time the music is never clumsy or heavy handed.

If you enjoy listening to finely balanced music which can be both daring and beautiful then you'll probably find this a very rewarding album. If you don't know Kris Davis's work this may be as good a place to start as anywhere.

A sample of some of Kris's other albums (and collaborations) on the blog are:    
Gauci, Davis and Bisio
Rye Eclipse
Rainey, Laubrock and Davis
Paradoxical Frog
RIDD Quartet

Buy at Instantjazz.

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William Parker Quartet - Live In Wrotslove (ForTune, 2013) ***½

By Paolo Casertano

In the rankings (let’s say in the first twenty positions) of the concerts I’ve been attending in my life there is for sure the night, some years ago, when I had the honour and the luck to listen to a solo performance of William Parker in the Auditorium of Rome. It was during a really academic festival, full of prestigious names from the avant-garde Gotha. The audience, as usual in these kind of events, included a consistent number of bearded men with thick glasses and, in some cases, with a book on their knees waiting for the concert to start (you know, not even a minute of your precious time has to be stolen from the highest peaks of human knowledge).

After Parker had showed during an about one hour suite all the deep symbiosis he has with his instrument, the concert ended among delicate applauses and interesting sights (the one you try to show when you understand music, not just appreciate it). Parker should have noticed something for he reminded briefly that after all music and playing must have always something to do with enjoyment and amusement. Then he invited the audience to leave the concert hall while he was still playing in the background some really standard and pleasurable accompaniment phrases. Exactly as in a ballroom. Some of us followed the instruction and it was fun. Some others (guess who) stood still, gobsmacked and suspicious. Something is a concert or it is not and tertium non datur.

This album reminds me of that night. Information about it is hard to find on the Web if you don’t understand Polish (I had an intensive course just to write this review), but this almost 75 minutes long performance give us the chance to listen to the well-established Parker’s quartet featuring Hamid Drake on drums, Rob Brown on saxophone and Lewis Barnes on trumpet. It has been recorded in the Cultural Centre Agora of Wroclav during the 2012 Improvisation Festival. “Kalaparusha Dancing in the Edge of the Horizon” is the leading 47 minutes long composition and shows the smooth, classic and engaging interplay that these musicians can deploy. I like the often synchronic brass interaction, but my preferences go to the solo moments that we find in the second half of the track. First the astounding Parker solo after 25 minutes and then the long Drake’s exploit shortly after. Then again the extended duo between this more than legendary rhythmic session, using the brass just to remark some melodies once in while. Interchanging bowing and pizzicato is for Parker more or less the equivalent to breathing for conventional human beings. Audience can’t abstain from applauses.

The two shorter following episodes are enjoyable as well. “One for Horace” (I assume it is referred to Silver) starts really swinging and there’s more chances for the trumpet and the sax to climb scales and crank out catchy melodies. “Theme for Rondo Hatton” with its relentless and at the same time lazy bass line seems to arrive straight from another time. A time when you could have decided to dance during a jazz concert.

I understand that in the countless Parker’s discography maybe this will not be the one you remember, but it stays as a really pleasurable listening in any case.

My Polish course has not yet arrived to the “complete a web order” class but I assume the record can be purchased from the label.

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Trilok Gurtu: Spellbound (Moosicus, 2013) **

By Martin Schray

At the beginning of “A World of Sound“, a short film by the David Lynch Foundation about the late great David S. Ware, Ware says: “You know, I am not interested in chord changes … playing chord changes .. I don’t need that. I work on concepts, very subtle ideas.” You must see how he says the word “chord changes”, he pronounces it full of contempt - like “shit”. Trilok Gurtu’s album Spellbound is full of chord changes.

What the album might have been like can be heard at the short snippet recorded live by and with Don Cherry which opens the album – a 30-second-duo-improvisation with Cherry on trumpet and Gurtu on percussion. The rest is – as one of the reviewers on the team mentioned – fusion crap.

Spellbound is a homage to trumpeters (especially to Cherry) and it is moving through originals and pieces by Cherry, Dizzy Gillespie and Miles Davis interpreted by various stars of the scene like Nils Petter Molvaer, Ibrahim Maalouf, Paolo Fresu, Ambrose Akinmusire and others.

But while their playing is sometimes even okay (e.g. Nils Petter Molvaer in the only halfway interesting track “Jack Johnson”) it is the rhythm section which is the problem. The pieces are often caked up with ugly synthesizer and keyboard sounds (and/or with hideous unison bass/trumpet runs and horrible vocal parts) and a hard-to-bear 1980s electric bass (especially bad in the title track). Everything is obvious, there is no subtlety, no concept or surprise. The worst tracks are “Cuckoo” in its cheesy Latin American style, Dizzy Gillepie’s Afro-Cuban classic “Manteca” and finally Don Cherry’s “Cosmic Roundabout/Brown Rice” which is spoilt again by the electric bass and the arrangement in general.

The problem of the album is that it is all about musical skills, there is no soul in any of the tracks (except the Cherry snippet, of course). John Lennon once called such music in a very pejorative voice “muzak”. The means (showing off what great musicians they are) are more important than the end. In an interview Gurtu said that the idea behind this CD was to present a message, he emphasized the spiritual aspect the music should have. I cannot see any message or spirituality here – just chord changes.

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KonstruKt feat. Peter Brötzmann: Eklisia Sunday (Not Two, 2013) ****

By Martin Schray

For an article in The Wire in December 2012 David Keenan asked Peter Brötzmann about his interest in world music. Brötzmann looked at him like he was “about to puke up his meat balls” and gagged. He said that he did not like the term at all, that he was not interested in the mixing-up of things and styles. What he was interested in were people, in musicians, in respect. So on the one hand world music in a pejorative sense tends to display obvious folkloristic influences, but on the other hand it can mean that people no matter where they come from can find a common ground, a common language beyond firmly established structures. Isn’t that what jazz is actually about?

Thus, it might be surprising that Brötzmann keeps on teaming up with “world musicians” like on his Yemen project “A Night in Sana’a” (ARM) or “China Live 2011” (Jazzhuis) but it is also logical for a man “who is full of contradictions” that he is looking for new possibilities in the jazz idiom.

For this album he has joined the Turkish free jazz collective KonstruKt again (something he has done before for their album Dolunay in 2008), which is Korhan Futaci (tenor & soprano saxophones), Umut Çağlar (electric guitar), Özün Usta (double bass, djembe, gong, bells) and Korhan Argüden (drums). But it is not only Brötzmann on tenor, alto and clarinet who is KonstruKt’s guest here, the band is also augmented by Hüseyin Ertunç (acoustic piano, küstüfon, gong), Doğan Doğusel (double bass, küstüfon) and Barlas Tan Özemek (electric guitar).

And while I have problems with Brötzmann’s Yemen and China albums this one is absolutely marvelous because Brötzmann adds his unique sound to a well-coordinated collective, him just being the icing on the cake. His phrases are perfectly integrated in the overall evolving group sound, where each piece unfolds light-footed because these guys are such great musicians. As an example serves “Track 3”, the longest piece on the album, with its conversations of percussion, bass and slide guitar, its almost spiritual character and its duel of three reeds. My favorite piece is the last one, “Track 4”. It starts with a piano/clarinet duo before all the others join in to soar in a frantic blow-out.

The album was recorded at Eklisia (an old chapel built in the 17th century) in Gümüşlük, a small village near Bodrum on the 15th of May, 2011, in front of a small but enthusiastic audience. The sound is sometimes a bit dry and reverberating but it does not affect the music in a negative way.

Listen to a sample of KonstruKt with Brötzmann at the Krakow Jazz Autumn in 2011:

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Verneri Pohjola & Black Motor - Rubidium (Tum, 2013) ****

By Paul Acquaro

Black Motor, a tough minded sax, bass and drum trio and trumpeter Verneri Pohjola, both from Finland, are new discoveries for me. Rubidium may mark their first release together, but without knowledge of their previous and separate works, all I can say is that it seems like a natural pairing.

Verneri Pohjola has worked with Helsinki based UMO Jazz Orchestra, the Orkestrova, as well as his own groups and Black Motor has been together for the better part of a decade with seven other albums under their belt. The group has been described in some press materials as playing "uncompromising free jazz in the spirit of their early idols, Albert Ayler, Peter Brötzmann and Rashied Ali, combined with more traditional forms of jazz expression."

While the music feels a bit less raw than the influences mentioned above, there is indeed a fine and free spirit of improvisation and exploration exuding from the recording. The mix of structure and freedom makes the quartet's music seamless and fresh. For example, the treatment that the group gives to Nikolai Rimsky-Korsakov's 'Song of India' has a more traditional head/solo set up, but Sami Sippola's sax often pushes the tunes to the edges of tonality without ever going over it. Pohjola's solo devolves into an exchange between bassist Ville Rauhala and drummer Simo Laihonen, whose support is essential: beautifully flowing bass lines and pulsating percussion allow the two horns great freedom.

The title track 'Rubidium' begins with unison melodic lines, subtly arresting harmony and features some fierce group improv. A real highlight though comes in the three minutes of 'Sax-o-Phun' where Sippola lets out his inner Brötzmann, breathes fire, and then segues into a climatic old-timey jazz fanfare. A powerful arrangement of Edward Vesala's 'Kynnyspuulla' provides a little gravity to the end of the album.

Verneri Pohjola & Black Motor have created an album that is powerful and subtle, and serious but playful. It's well worth a deep listen.

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Trio X: Live on Tour 2010 (CIMPoL, 2012) ****½

By Martin Schray

I remember that I once saw the Schlippenbach Trio with a friend of mine, who was a film student then. He had invited one of his professors to accompany him. The professor, who hadn’t been to a free improvised concert before but who had some preconceived ideas about free jazz, was disappointed when he found out that the trio was a long-lasting group and stated that it was hardly possible to improvise freely with such a history, because to him free improvisation was only possible if the musicians don’t know each other to well. So, he claimed, this trio reminded him of an old couple walking along beaten tracks, hovering listlessly in the free ocean. Even then this struck me too simple an explanation for permanent cooperations and today I know that there are many projects that prove the professor wrong.

Trio X is such an example, a group swinging back and forth between tradition and free improvisation. It has existed since the late 1990s and consists of Joe McPhee (tenor, soprano, pocket trumpet, flugelhorn), Dominic Duval (bass) and Jay Rosen (drums) – and they are always ready for the unexpected, which has been very well documented. Only in the last few years CIMPoL has released a 7-CD-box about their 2006 tour, a 5-CD-box about their 2008 tour and now there is a 4 CD-box about their tour in 2010 presenting concerts in Iowa City, Waukee/Iowa, Ann Arbor/Michigan and Mt. Rainier/Maryland. Stef has already been very enthusiastic about the first two albums and I absolutely agree with him.

Surprisingly for such a line-up, the group’s repertoire is based on originals and on standards and classics like Naima, Round Midnight, My Funny Valentine, or Nation Time and they interpret them respectfully and freely at the same time. Nation Time, for example, starts very close to McPhee’s original with the band sticking to the theme. But then it seems as if someone had opened the windows and the notes were blown away so that they just forgot about them and created a very different piece never losing the original out of sight, though.

It is fascinating how Trio X treats this material. The musicians are masters of thematic improvisation, you can find the character of the motif in each phrase of the improvisation, very often either the rhythmic or the melodic shape remains – even if it is compressed or extended.  The central motif is constantly altered and while listening to it from different perspectives, its meaning is permanently changed and renewed.

As a microcosm for their approach serves Going Home, a traditional that appears three times on this album. In Waukee it is mostly a duet between McPhee and Duval, both interact very tenderly, especially Duval plays very discreet lines. Rosen only adds some spots here and there, he is hardly present, like a ghost randomly firing around in the background while McPhee dominates the version with his varied and masterful blues style. The track speeds up after six minutes when Rosen uses a swing beat which almost immediately falls to pieces. There is the same structure as in Nation Time again. In Ann Arbor they play the same track in a condensed version, Duval is much more in the foreground as well as Rosen, who is present from the very first minute. McPhee concentrates on the melody holding the track together and the swing part is only indicated here. For the gig in Mt. Rainier the trio combined Going Home with Naima. It is the most melancholic version, again mostly a McPhee/Duval duet, but the swing part is completely missing here, there is just a rush at the end.
The group is very aware of jazz history which is made clear in the Waukee performance: The gig’s playlist consists of lots of reminiscences and tributes for the late greats when you look at titles like For Jackie and Abe and a Fullish Feast, For Sirone (of course a bass solo), For Tony Williams (a drum solo), For Trane’s 84th HBJC, Not Quite Midnight or More Monkin’ in Evidence. But this does not mean that they act like an old couple, it is just the opposite – a fountain of youth. Another almost forgotten gem of 2012.

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Weekend Roundup: 4-27-13

By Dan Sorrells

Anne Guthrie & Richard Kamerman – Sinter (Erstwhile, 2013) ***

Sinter is a haunting mix of processed field recordings and electronics. It’s an album that deftly slithers between the familiar and uncanny, a solidifying mass of city sounds, tiny ultra-amplified noises, and huge electronic crescendos that might actually be rushing trains or planes lifting into the sky. Occasionally, the sound of people humming or singing rises through the din, and the listener can’t be certain of whether the voices were later added or were chance encounters within the captured environments. Some tracks are less interesting than others, but Sinter is worth consideration for the lengthy closing track alone. “Several or Many Fibers” hums along with a eerie momentum, like it’s pulling you along a dark forest trail or into a secluded tunnel. It’s the sound of twilight, conspiracy theories, Lovecraftian cosmic horror. Recommended.


Kristoff K. Roll & Daunik Lazro – Chants du Milieu (Creative Sources, 2013) ****

Chants du Milieu sounds like Daunik Lazro playing himself down through the nine circles of Hell. The duo of Kristoff K. Roll create electroacoustic environments that sound like field recordings of imaginary places or dreams, with Lazro’s baritone pushing through as though he’s there, playing from the sidelines of a slightly unsettling dream that’s just too interesting to wake up from. Lazro is fully present in grating, blustery form, never anything less than passionate, and for a few moments in the title track, achingly beautiful. The range here is dizzying, the gravelly tone of Lazro’s saxophone the only constant in a shifting field of familiar and unfamiliar noises.  A fascinating, disorienting 40 minutes of music.


Streifenjunko – Sval Torv (Sofa, 2012) ***

Streifenjunko are a duo of tenor sax and trumpet who use extended technique as the starting point for their pulsing, ambient music, rather than as a tool for coloring more “typical” improvisation. Exactly how much of the double LP Sval Torv is improvised is not clear though, and while it definitely figures into their methodology, it seems likely that it’s used to develop material for compositions. “Våren har aldri begynt så bra” is a gorgeous piece, with a lyrical, quavering trumpet line delivered over a rhythmic sax motif. “Vexselsvev” and “Evig din” are delicious hunks of drone that showcase the incredible synergy and concentration shared by Eivind Lønning and Espen Reinertsen. A unique album, even if it is a bit of a slog to get through both LPs.


Chris Abrahams & Lucio Capece – None of Them Would Remember It That Way (Mikroton, 2012) **½

Chris Abrahams is of course best known for his work with marathon out-jazzers the Necks, but his work in other contexts often takes on a quite different hue. Here he greatly restrains himself on synthesizer, floating along with Capece’s explorations of the subtlest changes in breath and tone. There’s a lot of open space here, and a lot to miss if you don’t listen closely. Though the long pieces “Ring Road” and “Southern Patterns” raise their voices at times, only the short closer “All the Oceans Between” has much of a corporeal feel. The rest is as delicate as breath itself, even the parts that emanate from machinery that’s as far removed from breathing as one could hope to get.


Barbara Romen, Gunter Schneider, Kai Fagaschinski – Here Comes the Sun (Mikroton, 2012) ****

Here Comes the Sun is a long, moody record, an hour of improvisations with no clearly defined rhythm, but always a sense of trajectory; movement is created through tension and color. The music is delicate and unhurried, long drapes of sound, or at times sparkling fields of notes, like light on water. Hammered dulcimer is not a particularly common instrument in free improvisation, but Romen deploys it to great effect, evoking harps, humming oscillators, even muted piano at times. The dulcimer and Schneider’s guitar coast along Fagaschinski’s pure clarinet, creating utterly beautiful, immersive music. “Who’s There?” asks the opening track. Some formidable improvisers, I’d say.

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Brian Groder & Tonino Miano - FluiDensity (Latham, 2013) ****½

By Paul Acquaro

Brian Groder and Tonino Miano's FluiDensity is the work of a duo so conversant and solid that one could imagine that they were working off rather dense charts rather than engaged in the give and take of pure improvisation. Groder's melodies are quite engaging and Miano's imaginative accompaniment never fails to be supportive.

Groder is New York based trumpeter and flugal horn player and has garnered enthusiastic reviews on this blog before. His partner on the recording, pianist Miano, also from New York, and is an educator and musician. Together they have made an album the straddles the line between classical and avant-garde jazz with accessible spiraling melodies and evolving improvised ideas. Miano has a strong rhythmic drive to his playing, even when he's playing quietly, that provides a nice buoyancy. 

'Optika', the opening song, starts with Groder's unaccompanied trumpet playing an intriguingly convoluted melody. When Miano joins, his counter melodies match in pace and phrasing, giving the tune a rhythmic boost. The wide ranging  'Depth of Field' begins with oblique passages on the piano and insistent melodies from the trumpet to moments that have a folksy openness that bring Aaron Copland to mind. The album as a whole breaths, expanding and contracting, leaving space for listener to ingest, digest and reflect and then do it all over again. 

FluiDensity is a rather it is an imaginative and sophisticated album of dense, fluid, melodic and intriguing improvisation.

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