Let us forget Ibiza for a moment, forget the calculated sun abstraction with which Muriel Grossmann otherwise tends to screw the Balearic jet set out of composure. Here, the naked now burns at the back of the neck. And it does so with a greeting from the past: Tallinn, late autumn 2025, outside the nothingness clinks with cold, inside a completely free studio skirmish with the great Estonian jazz figure Tõnu Naissoo.
Where more recent Muriel albums such as Light of Mind or Breakthrough still piled on contemplation, this is how things run here: Grossmann lashes her saxophone and flute through shimmering modal waves, while Naissoo rolls out cosmic widescreen hypnosis on the holy trinity of organ, Rhodes and Moog. Of course, there are no excuses here, no second bottom, not even a safety net rolled out by the package insert from NooPop Records. Only this damn good real-time excess, kneeling before Coltrane, Shorter and whatever they were all called.
