Austrian pianist Elias Stemeseder and German drummer Christian Lillinger capture the Zeitgeist in a nervy, occasionally anxiety inducing, pairing under the moniker Umbra. Although extant as a duet, they often supplement the numbers with like-minded collaborators, and on Umbra II trumpeter Peter Evans and bassist Russell Hall take to the full on interaction like ducks to water. Unlike their debut recording, this time out they swear off the electronics for an all acoustic outing, although, truth be told, such is the highly charged nature of the discourse that abstinence proves almost irrelevant.

All 13 cuts, on an album that challenges the capacity of a CD, are credited to the two principals. Structures, however, often seem predicated on percussive dynamics rather than melodic or harmonic confluences, despite boppish unisons or ballad feels asserting themselves at various junctures. As such, it is Lillinger with his hyperactive glitchy approach to meter who perhaps offers the most pertinent access point. Stemeseder is harder to get a fix on. At times he issues forth in that marvelous flow that illuminated his tenure with drummer Jim Black's trio, but thenn affirming his allegiance to a wider span of genres, he also adopts more jagged trajectories, staccato shards and sparse rhythmic chords abounding.

Evans nimbly handles whatever is thrown at him. He is ridiculously fluent, his lines showing no visible means of support as they swoop and soar, assuming warp speed at the slightest provocation. He first demonstrated an affinity with Lillinger in the quartet Amok Amor, and he reinforces that connection here, whether in a lurching stutter or being disarmingly tuneful. Hall, as his track record with the likes of drummer Tyshawn Sorey and pianist Emmet Cohen attests, is another one averse to remaining in the same lane. He branches from solid foundation to meditative rumination, but never missteps.

All four mesh in an empathetic display that both dazzles and exhausts. It should come with a health warning: strong caffeine needed before broaching. This is dime turning elevated to a fine art, executed with a devil-take-the-hindmost insouciance.

https://www.allaboutjazz.com/umbra-ii-elias-stemeseder-christian-lillinger-intakt-records

Austrian pianist Elias Stemeseder and German drummer Christian Lillinger capture the Zeitgeist in a nervy, occasionally anxiety inducing, pairing under the moniker Umbra. Although extant as a duet, they often supplement the numbers with like-minded collaborators, and on Umbra II trumpeter Peter Evans and bassist Russell Hall take to the full on interaction like ducks to water. Unlike their debut recording, this time out they swear off the electronics for an all acoustic outing, although, truth be told, such is the highly charged nature of the discourse that abstinence proves almost irrelevant.

All 13 cuts, on an album that challenges the capacity of a CD, are credited to the two principals. Structures, however, often seem predicated on percussive dynamics rather than melodic or harmonic confluences, despite boppish unisons or ballad feels asserting themselves at various junctures. As such, it is Lillinger with his hyperactive glitchy approach to meter who perhaps offers the most pertinent access point. Stemeseder is harder to get a fix on. At times he issues forth in that marvelous flow that illuminated his tenure with drummer Jim Black's trio, but thenn affirming his allegiance to a wider span of genres, he also adopts more jagged trajectories, staccato shards and sparse rhythmic chords abounding.

Evans nimbly handles whatever is thrown at him. He is ridiculously fluent, his lines showing no visible means of support as they swoop and soar, assuming warp speed at the slightest provocation. He first demonstrated an affinity with Lillinger in the quartet Amok Amor, and he reinforces that connection here, whether in a lurching stutter or being disarmingly tuneful. Hall, as his track record with the likes of drummer Tyshawn Sorey and pianist Emmet Cohen attests, is another one averse to remaining in the same lane. He branches from solid foundation to meditative rumination, but never missteps.

All four mesh in an empathetic display that both dazzles and exhausts. It should come with a health warning: strong caffeine needed before broaching. This is dime turning elevated to a fine art, executed with a devil-take-the-hindmost insouciance.

https://www.allaboutjazz.com/umbra-ii-elias-stemeseder-christian-lillinger-intakt-records