Limber Lumber: buffing up the bits and pieces, finding out what is left in the old clobber. Three years ago, when the trio first formed, the band's name signified the substance: Taking old standards, film scores, slightly worn pop songs and precious discoveries, they took them apart, dusted them down, reassembled them in new ways, oiled the hinges and were surprised to see how well they flowed again. When pianist Christian Rösli was offered a steady gig in the Fahrenheit Bar in Winterthur, he took the opportunity to form a new trio together with bassist Patrick Sommer and percussionist Julian Sartorius, both musicians from previous joint projects. The re-made ready mades were therefore also an effective way for the trio to find their own language. Now the first album has been produced: "Diapassion". The principle of rejuvenation has long since moved on from cover material and now refers to the lineup itself. Chiefly using original compositions, they are now tackling the realm of the piano trio itself. Not with brute force and in an iconoclastic way, but with great respect for tradition and a keen sense for the potential of the instrumentation: melodious transparency, a place for dynamic tension and intimate interaction. From the restrained opener "Slow Rumpel Blues" to the title track "Diapassion", a lesson in how it is still possible to write a truly catchy tune in Jazz, to the epic "Lilac Wine", a hard-boiled deconstructed version of Sam Cooke's "Wonderful World", up to the final ironic waltz "Homer in the Moonlight". By no means is this "lumber", but a fresh and skillful statement in every sense. Winterthur pianist Christian Rösli, who was classically trained and later dove into the depths of jazz, moulds precisely, energetically and in a masterly fashion and does not hesitate to reach into the bowels of the grand piano itself if need be. Julian Sartorius studied jazz percussion in Lucerne and lives as a free-lance border crosser in Berne. He likes to think outside the classic "trio-percussion" box, places technoid Drum'n-Bass beats next to smooth Bossa and sometimes reduces his part to pure accentuating percussion. The subversive singing comes from Zurich bassist Patrick Sommer. His lines invisibly hold the arrangements together, but from time to time can rise to the surface with his very distinct voice.