Darriau and his Paradox "Trio" (a quartet in sum) deeply investigate melodies from the Balkan countries and fuse them with jazz sensibilities, a maddeningly attractive combination of unison playing and improvisations, utilizing traditional and Eastern folk instruments. Darriau primarily hits on alto sax or clarinet, Rufus Cappadocia on five-string cello, Brad Shepik on electric guitar (in many instances sounding like an oud), and Seido Salifoski on dumbek and cymbals or small percussion. The leader wrote three of the nine selections. "Arabesque" has dance rhythms, as one might expect; it's in 4/4, with some dark clarinet and use of space between notes and phrases. The triple unison lines between the front liners are startling. "Faux Clarinet" has Darriau chattering on a Hungarian-bought Spanish-origin clarinet, plus Selifoski clattering on dumbek, leading to a juking, almost R&B-ish melodic line. "Phase" comes closer to raga in measures of six beats; Darriau is on alto, with white-hot electric waves steaming off of Shepik's guitar. Selifoski penned "Seido Nein," with Darriau's fever-pitch alto leading to an orgasmic climax, stopping, then forging a sub-melody. Shepik claims credit for two compositions -- the introductory "Sand" really sets the tone for the CD with a 9/8 whirling dervish feel, some overblowing from Darriau's alto, and wonderfully conceived triple unison. "Andaluz" further emphasizes Shepik's oud concept, with ultra-quick lines in varying time signatures and dizzying virtuosity from all four; it lacks no sense of urgency. Cappadocia's solo, one of several present, proves his mastery of this instrument, and his singular-minded sonic concept. Also included is Bela Bartok's "Rhythme Bulgare #2" in 5/4 time, led by cello, with Darriau on the kamal (Bulgarian end-blown wood flute) and Shepik on acoustic Portuguese guitar. They take a stealthy approach before Darriau switches to alto sax; Shepik's solo is accented by splash cymbals. The steady, caravan-like, Cappadocia-written title track features Selifoski on the tupan, a big Bulgarian drum, and Shepik on amplified saz. Darriau picks up the Bulgarian bagpipes, in perfect tune and handled as fluently as his other woodwinds, for the traditional "Balkan Suite," a free, sailing intro leading to dancing 7/8 lines, the kaval in the middle, and alto repeating a concluding melody. This is intricate music to be sure, and when a listener's involvement can equal the great passion exuded by Paradox, the rewards are great. A highly recommended world music hybrid that transcends all previous attempts and amalgamations.

(Michael G. Nastos, AllMusic.com)