The CD starts with some interesting moody work with nice interplay. The rhythm at first seems a bit abstract but there is a groove. Before I know it I am half way into track 2. Then I am suddenly awakened by some high powered up tempo playing with a solid beat. At first I find this jarring, but I quickly get into the groove.

Then Cappuccino has someone saying cappuccino and other words.

Unfortunately I can't quite get them all. But again the piece turns moody with great interplay. In some sense one can consider this free except that Friedli wants to get into a groove. This is not a problem as his playing is always sensitive to the others.

The next track seems to flow into each other. Throughout Gisler's guitar moves from interesting chords to nice single note lines, especially on One Minute Too late. Branch goes between some nice growling also to nice melodic lines with a tone that blends well with the guitar. While in many ways this is my favorite track I thought Friedli was a bit too heavy handed here. And throughout Bossard moves between being rock steady or wonderfully interactive with other players. And Rabbits on the runs really moves

The more I listen to this CD the more I started to think that the music here was influenced by the later electronic period of Miles Davis. Branch's tone at times sounds like Miles and Gisler's guitar sounds like it would fit into that kind of fusion setting.

Although seemingly limited in expressive textures by the trumpet’s size and construction, composers and players have steadily expanded the brass instrument’s range and adaptability during the past half century. As more have investigated the possibilities in improvised and aleatoric music, the definition of brass tone has modified. Concurrently the makeup of an acceptable ensemble connected with trumpet tones has evolved as well and each of these out-of the-ordinary outings demonstrates how musical definition can shift from session to session.

Another variation on the theme of timbre reorientation is Zurich Concert (Intakt CD 357 intaktrec.ch), a live program where American trumpeter Jaimie Branch joins the trio of Swiss guitarist Dave Gisler for the first time. Her vigorous drive, propelled with a touch of greasy blues, easily latches onto the sensibility of the guitarist, bassist Raffaele Bossard and drummer Lionel Friedli, whose playing encompasses rock energy. The trumpeter’s foreground/background role is best illustrated on One Minute too Late. Picking up from the short, shaking and rattling track that precedes it, this tune evolves into a solid narrative of horizontal brass tones decorated with Gisler’s flanges and frails. When the guitar solo transforms into a gentling theme elaboration with both folk and jazz inflections, the timbral decorations are from Branch’s plunger tones. Meanwhile, movement is provided by a bowed bass line and cymbal crashes. Throughout the set, cadences are further informed by rock sensibility. If Gisler’s slashing frails and echoing string slides are often staccato and distorted, their origins are British hard rock atop jazz perceptions. When a groove is established coupling fretted string echoes, a double bass pulse and drum backbeats, low-pitched bass colouration joins the guitarist’s slurred fingering and the trumpeter’s brass smears to confirm this is no pop-rock CD. This maxim is further demonstrated on the smeary, scatological Better Don’t **** with the Drunken Sailor. A blues, it combines Gisler’s upward string shakes and stutters that could come from Led Zeppelin with Branch’s plunger mute extension which dates to Duke Ellington’s Jungle Band. The group also detours into post-modernism on Cappuccino, where the vocalized title is repeated and distorted by looping electronics and the stop-time narrative enhanced with guitar flanges and trumpet plunger growls.

https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/30683-something-in-the-air-uncommon-trumpet-groupings-unusual-and-unique-textures-february-2021