This French-American combination of reeds, piano and drums reveals its values through a type of music whose immediate outlook appears cleverly questioning and emancipated from styles at once, making the most of swiftly executed instant designs that never give the idea of miscalculated moves or sixth-sense deficiency. Yet in Eldorado Trio, a mix of studio and live performances, there are also episodes – such as “La Visite” – that literally touch the heart in their mournful rigour. The articulated clarity with which the musicians express inner urges and creative tendencies is testimony to an exceptional ability in controlling and pacing the improvised and/or scored counterpoints upon which the CD is masterfully edified. The thematic delineations are informed by admirable gravity, focus and lack of ideological and instrumental dispersion. Moody suggestions and cutting insinuations may alternate over the program, according to a consecutiveness of intelligible complication and un-mellifluous pensiveness; there’s no trace of pessimism whatsoever, but it’s not an all-smiles album either. The interplay is major league throughout: Taborn’s pianism incredibly tight even in the “troublesome” tracks, Sclavis – who conceived the large part of the material – offering lyrically hurting or obliquely peppering lines depending on what crosses his mind, Rainey working the drumset with realistic far-sightedness and heartening absence of easy tricks, thus adding further stability and class to this challenging set.