2010 release ** "Here, after Schindler+Richter and Schindler/Holzbauer/Lillmeyer, multi-reed player and flautist Udo Schindler meets an old companion from the 90s. Hubert Bergmann, a Fernando Pessoa-adoring and Tai Chi & Qi Gong-inspired jack-of-all-trades from Überlingen on Lake Constance, has already played piano in Schindler Interferenz.3 and with Trio BGS. Now a master craftsman in his own workshop for improvised and new music and, as such, also a duo partner with guitarist Mary Halvorson, Bergmann proves himself a light-handed heavyweight, balancing the entire piano sound body into the balance, where Schindler's flute buzzes around him like a startled blackbird. But the mutual excitement quickly bubbles into mercurial consonance: 'First thing' - same wavelength. After 7-8 minutes, understanding is established and opposites are almost comfortably reconciled. 'Parlando' piles up and mixes a third-stream full house in staccato fashion. Schindler, meanwhile, croaks on the soprano sax, cascading angularly and shadowboxing to the point of slackening to choppy, up-and-down curving or ringing piano riffs. Where is the journey headed, when all directions have already been explored? Into the dreamy, with the inner eye wide open? Bergmann relocates his Glass Bead Game to the bar, dissecting unnecessary profundity into jerky and lively movement – ​​Gershwin sends his regards and an angular constructivism in which 70 or 80 years ago in Berlin or St. Petersburg, 'Negro music' reverberated as a playful 'barbarism'. Schindler twangs, squeaks, and sneers, his partner twirls the keys as if he could wrap them around his finger, and whoosh, a groove, even if the hoarse tenor saxophone quickly has something else in mind. Never entirely out of sight is that form of modernism that one shakes out of the sleeve: echoes of the 1910s and 1920s, Allegros barbaro, occasionally refined, but quickly chiseled again with undiminished gusto and roughened up with the bass clarinet. 'Goodbye' finally pulls the pork pie hat on Mingus and, with its bluesy déjà vu, ruffles and hammers away even the very last opportunity for gloom and boredom — hats off to him."