The opening improvisation boldly deserves the title of stately chamber jazz - a bit of darkness, guitar bow and more linearly phrasing piano from the keyboard. The second story starts from the position of a cooled ballad, and ends in the fumes of fulsome, dynamic jazz. The musicians cooperate in style, and all the elements of their playing seem to fit together perfectly. From the third story, the emotions start to grow. The guitar sends out a few post-rock barbs, the cooled piano catches the rhythmic claw of free jazz, as does the melodic, flirtatious, and yet cocky saxophone. However, it is most interesting when slowed down, when the pianist proposes an intriguing exposition supported by guitar ornaments.
In the fourth part, the artists add a handful of new elements to the whole picture - an ambient background, resonant phrases inside piano and a painful timbre of the brass. The dark narrative, built with long brush strokes, first rolls out an intimate arsenal, then cleverly escapes into dynamic free jazz. The saxophonist notes great moments here, taking responsibility for the shape of the entire improvisation on his shoulders. The fifth story is once again woven very collectively and goes from an intimate, calm opening to an intense, post-jazz development. And again the saxophonist deserves many warm words. The final story is strongly nervy and saturated with intriguing danceability. Light, quick, without a single unnecessary sound. There is a large melody in it, an almost rock density and a nostalgic, rather slowly progressing finale.
