This interesting musical encounter by clarinet player Harold Rubin and talented doublebass player Alexander Frangenheim (sometimes joined by Mark Smulian's electric bass), which has been arranged by Helma Schleif, one of the most active figure of Berlin cultural scene, just recently came out on Creative Sources, even if it was recorded at Digihippi Studio, Hod Hasharon (Israel) on June 2010. Besides the unconventional way of performing of both musicians and the audible influences from modal jazz and jewish music, the most amazing aspect of this release lies on dynamics: whenever it seems clarinet and double bass are having a dialogue, they manage to change register so that the first lines turn into controversy, bicker or excited musical storytelling. The bizarre hurly-burly within the specular melodic symmetry on "Twin Leaf", which looks like those sketches where comedians try to bamboozle their reflection on the mirror by sudden motions, the tumultuous pursuit on tonal scales on "Clear Run", the supposed hotchpotch of jingles on "Commercials (& Football Never Freedom)", the stumbling vacillations and the occasional wheezing on "Monkey Jam", the dragged alternation of melodies and countermelodies on the nice "Slow Trio", the crackling instrumental tally-ho on "Wood Knocks First" and all the other moments of this record sound like being a continuous preparation before their converence in the final long "Suite", when any lump in the throat of each instrument sounds like gradually resurface by means of rivulets of fragmented melodies.