Clarinetist AB Baars is featured here in trio with bassist Wilbert De Joode from Franz Koglmann's pipetet and Dutch drummer Martin van Duynhoven. The program is one of improvisation for the most part, though there are several scored compositions on the set, such as "Igor's Bansle" and "Birdman of Paris." These have the hyperkinetic, stop-and-start rhythmic regimen that many of Franz Koglmann's tunes do (Baars is sometimes a member of Koglmann's pipetet and has collaborated with him many times). They subscribe not to jazz or to European classical music, but more to the circus in their humor, pace, and kooky melodic structures. The improvised pieces, however, move from polytonal inquiry, necessary since there is no piano base from which to spring. DeJoode goes heads up with Baars, turning a series of modal frameworks into poly and microtonal cacophony where dynamic becomes as important as timbral syntax or chromatic reach. It is pointless separating the improvisations from one another in that they are almost all of a piece, turning all notions of new music, free improv, and jazz on their ear in favor of something so universal it almost can't be spoken, let alone sung. Nonetheless, the deft and creative musicianship here creates a very sophisticated type of conversation, indulging the full range of musical emotion. Recommended.
AllMusic Review by Thom Jurek