Recorded in 1994, much of this music has an ahead-of-its-time vibe. Violinist Hans Burgener's phrases are non-tonal but quite jazz-like, drummer Margrit Rieben's rhythms are very tightly wound and energetic, and pianist Ursula Hoffmann plays like a conservatory-trained musician who improvises very, very well. Though classical in bent, the music is as intense as most downtown N.Y.C. free jazz -- it's just less bluesy and more 12-toney. The visionary aspect stems from the use of electronics, which by early 21st century standards seems a little tame but is nevertheless creatively and effectively deployed. Certain American free jazz musicians might do well to take some ideas from these three.
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