The jazz quartet, co-led by trumpeter Mirio Cosottini and bassoonist Alessio Pisani, has its own unique approach and successfully engages the listener on its own, even without Gohara’s contributions. Bassoon is an unusual instrument to hear in a jazz or improvised setting – only a few players come quickly to mind: Karen Borca, Michael Rabinowitz, Paul Hanson, Ray Pizzi, Anthony Braxton, Michel Berckmans (of the Belgian prog-fusion group Univers Zero), and Klaus Thunemann (who did outstanding bassoon work with pianist Michael Naura during the 70s). I am not sure who amongst the aforementioned artists Pisani would claim as an influence, though his playing is quite nimble and he consistently utilizes jazzy, saxophone-like phrasing. By contrast, Cosottini’s Miles-influenced trumpet hews toward short, clipped, precise statements, not unlike what you’d expect to hear from a player well-versed in both the jazz and classical realms. The duo employs a surprisingly large amount of composed lines – some quite Ornette-like – over the free-wheeling, omnivorous rhythm section. Bassist Pedol and drummer Melani are adept at a variety of rhythmic feels, though their default mode throughout Flatime is an unhurried, sparse, economical 4/4 funk that has its roots in Miles Davis circa ‘In A Silent Way.’ The Miles parallels are especially apparent when Pedol switches over to electric bass. Listening to Flatime,I was also cheerfully reminded of some of the genre-busting musical experimentation that sprung forth from Downtown NYC / Knitting Factory scene in the late 80s and early 90s.