Prepare yourself for an auditory adventure as you dive into "Nail in Ulrichsberg," a masterful live recording by the trio of Michel Doneda, Alexander Frangenheim, and Roger Turner. This album, recorded in October 2022 at the Jazzatelier Ulrichsberg, is not just music — it's more like the aural body of evidence of an unconventional listening experience.

Imagine, if you will, a sonic landscape where conventional melodies take a back seat and improvisational caprice reigns supreme. Doneda’s soprano and sopranino saxophones weave intricate, almost conversational lines that dance effortlessly with Frangenheim’s double bass. It's as if the two are engaged in a spirited debate, with Turner’s percussion adding witty, often unexpected, retorts.

The album consists of four tracks, each a unique exploration of texture and timbre. The most prominent (not only for its length) piece, "Sinker", is a 26-minute odyssey that feels like wandering through an abstract soundscape, where every turn reveals new, unexpectedly sonic obliquity. Doneda’s breath control and tonal precision are nothing short of mesmerizing, while Frangenheim's bass provides a rich, earthy counterpoint.

Over another key track, the opening "Tack", the trio condenses their exploration into a more compact, yet equally compelling 17-minute piece. Here, Turner’s percussion shines, adding layers of complexity, and it's the “voice” of this sonically eloquent trio into uncharted territories. His use of unconventional instruments and techniques brings a playful yet profound edge to the performance, and other “voices” seem to tag along its vagaries.

The irony of this album is its structure — or rather, the lack thereof. Each track feels like a spontaneous creation, yet the cohesion and interplay suggest a deep, almost telepathic understanding between the musicians. It's the kind of album that makes you question the very nature of composition and performance.

Technically, the recording quality is impeccable. The clarity and balance allow each instrument and their web of sobs, hiccups, scratches, squeals, etcetera to be heard in its full glory, making it easy to appreciate the nuances of each performance. Frangenheim, who also served as the recording engineer, deserves special mention for capturing the raw, live energy of the performance without sacrificing detail.