Intricacy
abounds as the quartet on (Babardah) unravels
complex musical mysteries. Michalowski opens with a robust baritone saxophone
foundation,
encouraging Khoury to build on the concept with stirring violin cries of sadness.
Weaver's trombone weeps in sympathy
as llgenfritz uses arco motion to stir this cauldron of 'improvised
sound. Khoury’s string symphony conjures images of remorsefulness in the
Gypsy tradition and if counteraction with Michalowski’s and
Weave's horns becomes the defining quality oft
this intense
recording. Ilgenfritz surrounds these
exchanges in
a tightly
knotted bass wrap as he alternates between introspective pizzicato and
mournful
bass drama. The music adopts a European aesthetic that coexists evenly
with
American concepts of spontaneously devised creativity.
The
nine selections are the joint conception of the team, which listens to and
answers the probing comments
injected by each member. Weaver and
Michalowski enter into bantering exchanges, causing Khoury and llgenfritz to cloak
this inter-play in a blanket
of swirling strings. Michalowski frequently forces mood swings by moving
from the dense tones of the baritone and bass
clarinet to
the more sublime effect of
the sopranino and soprano. Still, the music maintains its
profound, gripping elements, llgenfritz's bass
solo on “Tauton” further emphasizes the somber
scenario these four free spirits sculpt. His
anguished resonance
spurs Weaver into overt action while Khoury injects agitated string speech and
Michalowski
uses slurred mouthpiece
breathing as a tranquilizing
alternative. These four musicians have garnered the seeds of creativity
from
multiple cultural sources, but
their amassed product celebrates all that is beautiful in the respective
origins.