Pianist Muhal Richard Abrams affect on modern jazz and improvisation hearkens back to his founding of the Association for the Advancement of Creative Musicians (AACM). And with saxophonist Roscoe Mitchell (Art Ensemble of Chicago) and trombone great George Lewis, the art of intuitive improvisation is highlighted during this wily and irrefutably creative set. In the liners Lewis notes that he has worked with his band-mates since 1971, as he cites "trust and openness" as attributes that surface here, due to the trio’s overall musicality: Notions that are irrefutably substantiated throughout.
It’s all about the musicians’ ability to slice and dice moments in time. With variable flows, they engage in call/response techniques and emotive bursts in concert with their respective, multitasking faculties. Besides his monstrous trombone chops, Lewis looms as an early innovator of live EFX processing within jazz improvisation circles via his laptop software. Mitchell’s emotive bursts on sax and Abrams injection of sub-themes for example, often elicit notions of heated debates. Minimalism and microtonal components are also part of this expanding and contracting cornucopia of ideas. In certain spots, the computer-based effects add mystical qualities amid a holistic musical depiction of nature, where jagged bird noises and trance-like themes become vital rudiments.
On "Dramaturns," the group pursues give and take style dialogues atop alien soundscapes and Abrams’ stammering chord clusters. Abrams’ use of bells creates a polytonal, free-form, world-beat vibe on "Soundhear." Ultimately, the trio presents an aural image that uncannily illustrates how reality unto itself, can reside as a fleeting experience; chock-full of unforeseen surprises. (Staunchly recommended.... )