(Clean Feed)

This music is made of movable modules and riveting energy, something perfectly described by Dietrich Eichmann as “spontaneous dialogues that remain completely unpredictable”. One of those cases in which the total is greater than the sum of the involved parts, Transit shows a dramatic intensity meshed with unwrought rationalizations; over the impressive interplay between Arnal on percussion and Radding on bass – totally far off the “rhythm section” banality – the air emitted during the horn-locking exchanges by Misterka on alto sax and Wooley on trumpet is enough to feed a nuclear plant without ever reaching a breaking point. The quartet looks for the ultimate purity, never finding shortcuts to easy shelters and precious-looking gadgetry, always leering at consonance like a stray cat does when one tries an approach. And yet there are moments of tense composure – case in point being the final “Red Hook” – in which, for short glimpses, we’re led to think about a “harmony” that indeed exists: if you peep curiously enough, you’ll see it shining through the vital forces of these bright-minded guys.


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