Home Rec. 
Massot-Florizoone-Horbaczewski : Cinema Novo (2008)****'
These three members already have some reputation for being able to improvise and compose. Let me resume some biographical details.
Michel Massot, here playing tuba, euphonium and trombone Tuba played in numerous Belgian jazz ensembles (like Trio Grande/Trio Bravo), as well as in French big band Tous Dehors, while he has also been invited to play with people like Evan Parker, Kenny Wheeler, Rabih Abou Khalil,..Besides he also teaches improvisation at the Conservatory in Liege. Tuur Florizoone who plays the chromatic accordeon has followed jazz (piano, composition) at the conservatory (besides numurous earlier experiments, and a few workshops in Brazil with Nana Vasconselos en Gilberto Gil for some percussive ideas) followed jazz (conservatorium), now is most dedicated as a composer and accordionist (which he also teaches at the Conservatory). Active group is TricycleTricycle with Vincent Noiret (double basse) and Phillippe Laloy (soprano sax). (He also was engaged with French brass band Azeto Orkestra in 2000, as well as in German group Gadu Gadu). With his accordion he cooperated with mostly Belgium artists in jazz, folk, with classical ensembles, in Dutch and Belgium pop (Stijn Meuris, Paul Michiels, Dirk Blanchard, Jo Lemaire, Eric Melaerts, Patrick Riguel,..), dance, film, TV, theatre and circus. Marine Horbaczewski on cello has most rewards in the classical World for chamber music but also did improvisation (like with Garrett List) and compositional work (like with Jean Paul Dessy).
Together they already had a commision for playing the soundtrack for the Belgium movie ‘Aanrijding in Moskou’ by Christophe Van Rompaey, which was composed by Tuur Florizoone of the Trio. This abum is their first record. It became a succesful and intelligent release with compact compositions which, vaguely said, are dancing between classical composition, contemporary improvisation and jazz, with use of mood-provoking harmonies.
Brilliantly as they are their talents melt so well, that the melodic leads can be led by any of them, but are mostly brought up by one of the bass brass instruments, or by the accordeon, while the others either follow or accompany with a slower variation of this melody, or improvise rhythmic elements to it, or form some form of harmonic interwoven idea, resulting in intelligent and fresh compositions. The accordeon, logically for the instrument, can bring a slight waltz or tango-like sadness, of even Toots Tielemans areas (vaguely spoken), but this is not ever exploited as such, and as easily takes you away to a brighter mood, through the feeling of harmony. I had the impression once that also the breathing itself, and some percussion on the accordeon was used as some other element of improvisation. The brass improvisations provoke their own mood, melody but also brilliantly bring in rhythms, mixed up and in a similar way as an in jazz used double bass for instance. Also the cello adds layers of melody, and can be used just like a double bass, in either a jazz, classical or contemporary way. Elsewhere I heard brilliantly and perfectly played series of notes of contemporary harmonies. And also, particular hidden sounds of the cello were thrown in when fitting perfectly. The most unusual track, amongst others, I think is “Babelouz”. It starts with rather didgeridoo-like harmonies on trombone, half spoken into the instrument, transforming into the singing of a gospel blues melody, -a very unusual start-, before the instrument takes a rhythm like a jazzy bass (like aforementioned). Where the cello brings up as first the melody, (with the trombone bringing up a still slightly breathy dance-like bass rhythm), the accordion and cello play a harmonious duet like a dance on stage, until all three instruments conclude in one harmony with a slower compositional conclusion.
A top quality album, with a perfect balance between composition, improvisation, emotion and intelligence. Home Records proved once more with this release that they are a quality label.
