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The pair gets into their fair share of affable fisticuffs and a good amount of the kind of rigorous blowing conducive to the combination. Rosaly settles into a sweet second line groove halfway through the opening "Antiphony" with Rempis trilling expressively on top. Full of angular inversions and clipped phrasings, the following "Tainos" feels a bit like a wrestling match between Rempis and horn and seems to run out of steam in its final minute. "Thief of Sleep" rights things through a loose-limbed shuffle balanced on the legato strains of Rempis' baritone. Rosaly's spatial sense is especially effective here with lots of breathing room present between his delicate accents and a finely sustained sensitivity to tension and release. The by turns dancing and wailing alto that opens the centerpiece “How to Cross When Bridges are Out” contrasts pointedly with the prior piece. Rosaly alternates tidal snare and tom-tom rolls with exacting stick play while Rempis muses between Konitz-like coolness and McLean-style heat at length. The remaining three pieces run from the slow-coalescing free textures of "Still Will" and "Don’t Trade Here" to the bob and weave baritone bluster of "In Plain Sight".
Is this a set on par with Interstellar Space or The Long March? Such a loaded question is both unfair and irrelevant. Rempis and Rosaly deliver the goods in their own fashion, taking what is fast becoming a familiar framework and applying their own indelible stamp.