Three long improvisations carrying a heavy bag full of heart, intelligence, sense of purpose and lots of techniques bordering on the incredible. Dunmall uses a different voice for each piece; while he’s always exciting on tenor and soprano sax in a continuous exudation of apparently incessant melodic roasting and reflective instancy, it’s his bagpipe work that leaves mouths agape: potentially overwhelming, his phrasing on this instrument is rollercoasting to say the least. Paul Rogers is probably my personal favorite as far as bassists are concerned in the New Music department, a choice made easier by his wonderful instrument – the A.L.L. bass, with additional resonant strings. Rogers confirms his stature with each new work, not resting on (well deserved) laurels, instead questioning himself in search of that genial loophole that keeps him distant from quibblers and pretenders. The pair makes for three highly enjoyable discussions where the ears are constantly rewarded and not a single note gets lost in indifference.