Raberg, who has worked with Billy Hart, Bob Moses, and other luminaries since migrating to the U.S. from his native Sweden more than 20 years ago, brings a strong set of compositions to the session, most of which might be better described as frameworks. This is largely an improvisatory recording, though even unpredictable in its eschewing of and blurring of the lines. The opening piece, "Maya," possesses a consistently recognizable melody of sorts in its dissonance. The alto is crisp, the drums crisper. Raberg’s bass work is deeply resonant, and the harmonic interchange between the horns is sublime. On the languorous "African Daybreak," again the interplay between sax and trumpet is exquisite, the bass solo thoughtful and measured.
Chase’s soprano on "Stilts" is beautiful. Pellitteri’s bells is a nice touch, and what sounds like a blow through just the trumpet mouthpiece sets the composition up. Bass and cymbals play under trumpet, with exceptional bowing as the sonorous elephant trumpet and squeaky soprano deliver a cacophony of sound. The arco intro to the title piece contrasts with the Latin-tinged horn work and percussive drumming.
This is a wholly mesmerizing recording by four exceptionally proficient musicians.