Tomasz Pawlicki - flute, computer
Mateusz Szwankowski - clarinet, bass clarinet
Jacek Buhl - drums, percussion
By Dirk Blasejezak
The moon seems to have a very calming effect on this trio. The introduction into the album makes you feel as if you slowly sink into the darkness. On top of the immensely soothing music of the first pieces appear sounds and noises that are hard to identify and yet do not provoke any anxiety. And although there are faster pieces waiting in the course of the album, the overall impression is a very relaxed, but never boring one.
These are wonderful and unusual pieces, each of which receives the time it takes to fully develop. That way the three musicians are able to dive into all levels of the individual pieces, to lay open the finest nuances and to weave complex sound patterns. Because of its artistic complexity the music on this album may well be compared with chamber music. It shows how fine the line in art often is, as you can safely play this album to a friend of contemporary classical music - the difference lies almost solely in the composition technique. On the one hand you have the individual composer, providing note for note for all the instruments, on the other hand we have these three musicians playing together and composing - everyone for his own instrument but still as a group. That's why musical improvisation is often also called "instant composing"...
And even if the band's name allows associations with the tritone, the diabolus in musica, you have to have no fear that it is too straining, because this is one of the rare examples where the musicians develop a wonderful whole with free play. Of course we are already used to this from Jacek Buhl and his great collaborations with Wojtek Jachna and also from Tomasz Pawlicki’s contributions to the Ecstasy Project or Maestro Trytony. Only Mateusz Szwankowski didn't appear that often yet, but still he seems to be exactly right one for this shot. Especially his bass clarinet is in many parts responsible for the slightly dark foundation of the pieces, but often he also accounts for the surprising accents. This album is an unconditional recommendation to everyone for whom Jazz doesn't necessarily have to swing and for those who are open to more demanding notes.