"A newly discovered, enthusiastically received 1982 concert from three avatars of French Free Jazz captures the triumphs and the trajectories of improvised music at the time. Veterans, even at that time, saxophonist Daunik Lazro, now 78, and known for this work with Michel Doneda and many others; bassist Jean-Jacques Avenel (1948-2014), a Steve Lacy associate for years; and pianist Siegfried Kessler (1935-2007) who had a similar relationship with Archie Shepp; are as usual expressive and exploratory. But it’s a sign of changing times that there’s no idiophone in sight and Kessler plays electric piano, clavinet and ring modulator along with the acoustic piano and transverse flute.

Lazro concentrates on a nasal-sounding alto saxophone during the first number with his infrequent banshee cries contrasted with Avenel’s tough string strokes and Kessler’s electric keyboard spanks. Massaging strummed glissandi to develop in tandem with the bassist’s string bounces, the pianist then pours out a syncopated collection of soundboard rumbles to meet nephritic groans from Lazro’s baritone. Before the climax during “1c” Kessler uses low notes to ricochet from a Baroque to a Blues sensibility that intersect with the saxophonist’s tongue stops and altissimo squeals. Eventually unexpected sonic beauty marks the conclusion as double bass shakes and rubs are combined with responsive piano chords and peeps as Lazro’s outpouring ricochets from a darkened to a brighter tone.

Even more spectacularly, the second section introduces keyboard drones and organ-like tremolos that detonate electronic wave forms in round-robin coordination with bird-whistle like reed pitches mixed with mid-range saxophone honks. Lazro’s baritone smears create the continuum that underscores guitar-like twangs from the bassist and clear flute trills. Returning to the keyboards, to intensify a duet with Avenel’s augmented string thumps, Kessler’s acoustic piano pivot relaxes the exposition enough so that key-ringing blended with reed flutters and a swaying bass line approach a three-part round. Having established this contrasting motif, the trio members confirm their inventiveness, with the bass and piano expressing semi-dulcet textures as Lazro’s clangorous split tones and reed bites reaffirm the introduction’s antagonistic dissonance. Sadly Kessler and Avenel can’t enjoy the deserved accolades that arise from a matchless session like this. But at least Lazro now has another physical example of his mature art in sympathetic company." – Ken Waxman