On their three previous independently released CD's,
Cyminology have mined a personalized world and ethnic fusion music based on Middle Eastern and European folk songs combined with ethereal progressive jazz and contemporary classical music. For their debut on the ECM label, a keen sense of their new home label has deepened their commitment to atmospheric music rooted in earthy tones and a strong identity that is all their own, and nobody else's. The alluring vocalist
Cymin Samawatie, a native German born of Iranian parents, continues her amazing journey in utilizing her heritage singing poetic Persian Farsi phrases and wordless vocals in a manner that is a logical extension of vocalists such as
Jeanne Lee,
Jay Clayton, and even
Flora Purim in terms of depth. She at once bravely floats on clouds and speaks to humans down below not familiar with her dialect or language, conjuring up magical discourse that fits beautifully into this unique amalgam. Pianist
Benedikt Jahnel plays such lovely form and function music as ECM stablemates like
Bobo Stenson or
Mike Nock, with ultimate delicacy, taste, and subtle modern jazz intricacies. East Indian drummer
Ketan Bhatti and bassist Ralf Schwarz keep their roles in check within the softer mezzo piano range, whether offering sensitive ostinato lines or extending their instruments via expansive rhythmic horizons in different time signatures. Starting off with the Jalaluddin Rumi inspired title track "As Ney/Song of the Reed Flute" in a reverent, pastoral, hymnal mood, the ensemble plays pretty music, then adds swelling sounds on a one note exploration during "Niyaayesh," as vocalist and pianist join in solemn unison tones. The near-16-minute triad "Kalaam/Dassthaa/Delbasstegi" wends its way through spooky and serene segments where individual or pluralistic voices from each of the players move forward, then step back. "Sendegi" changes the pace to upbeat in a perky 9/8 rhythm, much more jazzy as
Jahnel's lustrous piano urges some jumpy, spiky, staccato-based singing from
Samawatie. The remainder of the recording fully identifies the pure ECM aesthetic, as the midtempo, modal 7/8 "Por Se Ssedaa" is the siren's song of a temptress moving into scatted interval leaps from
Samawatie. This piece, "Naagofte," and "As Ssafar" explore the concept of a darker, mysterious, underground labyrinth, with minimalist repeating or stairstep piano lines, flowing wordless vocals, and a marginal rhythmic structure. A steady, soft pulse identifies "Ashkhaa," another peaceful composition that completes the circle and the journey from the opening track. This is clearly a transitional album for
Cyminology, as they are quite aware of
Manfred Eicher's precepts and their surroundings, this being recorded at the famous Rainbow Studios in Oslo, Norway. A more subdued
Cyminology than their previous efforts, it marks a new era for the group, fully exploring their cerebral, spiritual, and introspective side. ~ Michael G. Nastos