The elegant improvisations presented in “Babardah” are built upon appealing sounds and extreme respect for every instrument’s voice. Each and every concept is carefully analyzed, becoming an element of reflection and observation rather than an obstentation of useless power. The instrumentation (bass, violin, sax and trombone) is appealing as it works perfectly in a sort of “chamber free music” where seemingly nothing is discarded. There’s nothing too conceptual here, not a reason that could prevent this record to calmly sail in that sea of “discreet” avantgarde where virtuosity and studies of possibilities never exceed a mature and insightful approach to playing. Essentially, this is intelligent stuff – neither too dense, nor too reductive – that must be listened to with the same poised stance of the musicians involved.