When three improvisers like this get together there are always high expectations and excitement, and “The Abstract Truth” delivers the goods. This is the second time that Amado (tenor and baritone saxophones), Kessler (double bass), and Nilssen-Love (percussion) have released recorded material, joining forces first in 2006 for the release of “Teatro.” Both sound-adventures have been brought to the world through Amado’s European Echoes imprint, aptly named after Manfred Schoof’s 1969 out jazz landmark album.

“The Abstract Truth” is meant as a tribute to Greek-Italian surrealist Giorgio de Chirico, and the listener is immediately thrown into a dreamscape of transitions and unexpected sound-movements reminiscent of de Chirico’s juxtaposed and shadowy worlds full of strange objects. The connection between free jazz and surrealism is no mystery, for both are grounded on a robust notion of play. Kessler’s double bass lines stretch out to the edge and then vanish, leaving traces of sound and silence for Amado’s healthily swirling scale movements. Nilssen-Love, one of the best and busiest drummers on the contemporary improviser scene, keeps the pace intense, offering enormous spaces for Kessler and Amado to play around inside the groove.

Many reviewers have noted the collective restraint practiced by the trio throughout the album. It’s true that there are no maniacal, dome-crushing freak-outs on “The Abstract Truth.” If you’re looking for a painful brain-explosion you’d be better off reaching for “Machine Gun,” “Alabama Feeling,” or the latest live recording by Virginia Genta and Chris Corsano (which, I must say, is absolutely dangerous). However, this is by no means a soft album. It’s definitely not going to convert any of your square friends to the free cause or make your party playlists any less insane. While “The Abstract Truth” won’t blow the house down with furious blasts of uncontrollable sound, it’s a fantastic display of the power of improvised music. Furthermore, it’s clear that the trio is attempting to display subtle transitions of sound and provide autonomous spaces for free-thought rather than create a relentless onslaught of violent notes. The multiple and transitory worlds of sound constructed on “The Abstract Truth” ultimately form one of the finest jazz releases of 2009. 8/10 -- Elliott Sharp (26 January, 2010)