Renowned vibraphonist and improviser Karl Berger often serves as the centralizing entity on this curiously interesting date. A multinational trio, the music is often patterned with sublime textures, ethereal subtleties, and methodical song-forms, occasionally grounded on succinct pulses and steadily moving waves of sound. Here, Berger is the elder statement via his historic alignments with the crème de la crème of modern jazz stylists and cutting-edge improvisers.
Trumpeter and electronics ace Werner Hasler blurts out scratchy distortion-based, and perhaps intentionally disruptive EFX on "Lomallet," where initial responses may indicate that your stereo system has a bad connection. But on repeated spins, it may make sense amid an existential viewpoint, based on the cyclical mid-tempo pulse and oscillating current featuring Berger's colorific vibes over the top. Hence, the trio morphs a mechanized-like sound-sculpting medium into a study in supple contrasts. The electronics element may stand as a wrench-in-the-works type mindset, indicating flaws in a well laid out plan, offering terse abstracts and eerie developments.
Hasler's delicate trumpet lines and drummer Gilbert Paeffgen's nimbly flowing brushwork enact a continual pattern that is carved up, notched out, and contextually shaded along the seven-minute ride. But they finalize the piece on a whimper and move on to the next conquest, resulting in an album that straddles jazz-improvisation, the avant-garde spectrum and offbeat concepts. Hasler also injects bluesy intonations into his attack to complement an aggregation of understated surprises throughout the program. Off-kilter but at times uncannily attainable, the trio projects a distinct ideology throughout.