Born in Switzerland, Lorenzo De Finti has become one of Europe’s most distinctive jazz voices. Now based in Milan, the quartet includes De Finti on piano, Stefano Dall’Ora on double bass, Marco Castiglioni on drums and Alberto Mandarini on trumpet and flugelhorn. Subtle layers of electronics and real-time processing are used as an extension of the group’s voice. All five pieces on the album were composed by De Finti and Dall’Ora, a collaboration based on ideas that were exchanged, reshaped and transformed into a shared musical language. The long-running De Finti Quartet has developed a unique sound that has been praised for its chamber-like lyricism, Nordic atmospheres and rock-driven energy. These days, it often seems like uncertainty is the only constant anywhere in the world, and while this music does not attempt to provide answers, it creates a soundscape that resonates with the fragile state of our times.

Backlash of Uncertainty begins with the title track, a piece that is constantly changing and evolving in its eight-minute playing time. Dall’Ora’s soulful bowed bass sounds very much like a cello on this one - beautiful! Sometimes very quiet and thoughtful and sometimes bright and lively, the music seems to reflect on our ever-changing world and the many things that are coming at us all of the time. The very end of the piece just trails off, unresolved, like a big question mark.

“The Other Route That Wasn’t There” is much more subdued and mysterious. In some passages, the horn is played with a mute, and at other times unmuted - an effective contrast! The last few minutes of the piece become more intense and then fade out at the end - I really like this one!

“Bridges in Königsberg” was inspired by a puzzle that the residents of the 18th century Prussian city wrestled with: trying to find a walking path through the city that crossed each of its seven bridges only once. The beginning of the piece has a dreamy feeling that suggests still water and perhaps fog settling in around the bridges. The trumpet takes the lead on much of this piece while the piano has a flowing repeated pattern. The second movement brings in some electronic instrumentation, a freely-improvised piano part and powerful percussion before returning to the more peaceful main theme, taking it in different directions. The last few minutes become very dark and chaotic - perhaps depicting people tearing their hair out while trying to solve the puzzle!

The beginning of “Temporary Shunt” features a very quiet piano, trumpet and bowed bass before much livelier percussion joins in - another interesting contrast! This piece goes through a lot of changes as it plays out, sometimes adding electronics to the acoustic instruments, and sometimes all acoustic. I especially like the piano and bowed bass duet near the end.

“Occam’s Razor” is the principle that the simplest explanation for a phenomenon is usually the best one. It was named for the 14th century philosopher, William of Ockham, and is the title for the 12-minute final track on the album. Electronic instrumentation and effects are added to the acoustic instruments in places, and there is a fairly long break in the piece before the musicians return to finish it with a lively last movement and gentle fade out.

Backlash of Uncertainly is a fascinating musical adventure! It is available to stream and download from Amazon and Apple Music/iTunes as well as on many streaming services including Spotify and Pandora.