Without posing as last-hour mutineers, Szilárd Mezei (viola), Ervin Malina (double bass) and István Czík (drums) pronounce the death of marginality in the jazz trio format. It is even reductive to use the word “jazz” in this case, for Mezei’s researching inventiveness is upgraded by a moving timbre that reflects East European ancestries more than anything else, travelling around quarter-tone trenchancy and melodic pathos with coordinate symmetry. Moreover, the Serbian’s playing is always sustained by an essential modesty that prevents his patent virtuosity from appearing as a protective cover for hypothetical lacks of substantial matter. In this environment, the compositions – all penned by the leader – consent the comrades’ active participation in the formulation of an argot that sounds both complex and indispensable for acquiring new perspectives on the score/improvisation kinship. Malina’s work benefits from its aggregation of architectural exactness and sinewy musculature, empiric elegance and sober propulsion well equalized throughout. Czík’s percussive solutions are blameless in a music that execrates anarchy while remaining “free” even when entirely written and orchestrated. Difficult scales in fractured tempos, evocative songs bathed in scarce tonal steadiness. There are chunks of pure excellency for everybody here, except lovers of “creative” orthodoxy.