With backgrounds as diverse as the ones characterizing these artists, we were almost forced to expect music at a high level. This gathering of “intuitive improvs and smokin’ grooves”, as the press release has it, contains all the necessary ingredients. Hay is featured on flute, alto flute and vocals; Dutz plays all sorts of percussion, while Peet works with organ, piano and theremin. The trio show their considerable percentage of virtuosism through a mature and ever-focused interplay, perfectly explicated by tracks like “Filthy washer”, where a mysterious shady aura is depicted by a now-you-see-it-now-you-don’t courting among the instruments that, in its own special way, hints to a score for chamber ensemble. “It can be thick” is a riff-ish, Hammond-based piece over which Emily Hay smokes the ashes of Ian Anderson and spreads their remnants to open sea in a high-voltage flute solo, while “Amnesia dealer” is an East-tinged meditation mirroring itself in the faint lights of a gorgeous aurora. Hay’s voice is often as strong as her main instrument as far as fantasy is concerned; she’s also found playing extremely melodic lines that one would rather link to progressive rock. When she’s sustained by Peet’s extracorporeal piano juggling and Dutz’s more than elastic rhythmic concepts, right then and there the music reaches the perfect balance between expected and unexpected, moving effortlessly from a genre to another without really landing anywhere. A definite example is “Coming!”, a track in which sparse organ chords and subtle percussive work call for Hay to bring out all her vocal nuances, in a thorough demonstration of musicianship which is truly something to admire. After listening to this stuff, we’re left none the wiser about a cathegory label to stick on the CD, which is open to everyone willing to forget about the commonplaces of improvisation.