Earshot Review, Ants

In this, their second CD, Babkas has harnessed the brimming energy that marked their debut CD and has crafted a finely detailed group of compositions. Youthful experimentation has grown into a mature exploration of sonic possibilities and improbabilities.

Absensce of a bass frees the players from conventional roles. One is as apt to hear melody in Aaron Alexander's drum work or percussion in Brad Schoeppach's guitar as the other way around. It also forces the listener to abandon habits of listening and meet new sounds with new ears.

Babkas eases the relearning process with compositions of subtle complexity that perfectly frame unconstrained improvisation. Perversely angular bop lines give way to shimmering lyricism, leading in turn to a funky groove. Tightly written ensemble work melts in free-for-alls, and in both the intercommunication is so high that often the three instruments nearly merge into one voice.

Though a strongly collective band, each member makes strong personal statements. Schoeppach is alternately dreamy and intense, using electric effects with tasteful restraint. Alexander flows easily from groove to free play, rephrasing and complementing, supporting with an ever changing palette of sounds. Briggan Krauss on alto sax just amazes. His filigree mutterings, nail-splitting pronouncements and tortuosly convoluted arabesques continually surprise and entice. For a new look at "Jazz meets New Music" give this one a listen. You might grow some new ears.

	Earshot Jazz, December 1994 Review of Ants to the Moon, By Ernie Saylor
	In this, their second CD, Babkas has harnessed the brimming energy that marked their debut CD and has crafted a finely detailed group of compositions. Youthful experimentation has grown into a mature exploration of sonic possibilities and improbabilities. Absensce of a bass frees the players from conventional roles. One is as apt to hear melody in Aaron Alexander's drum work or percussion in Brad Schoeppach's guitar as the other way around. It also forces the listener to abandon habits of listening and meet new sounds with new ears. Babkas eases the relearning process with compositions of subtle complexity that perfectly frame unconstrained improvisation. Perversely angular bop lines give way to shimmering lyricism, leading in turn to a funky groove. Tightly written ensemble work melts in free-for-alls, and in both the intercommunication is so high that often the three instruments nearly merge into one voice. Though a strongly collective band, each member makes strong personal statements. Schoeppach is alternately dreamy and intense, using electric effects with tasteful restraint. Alexander flows easily from groove to free play, rephrasing and complementing, supporting with an ever changing palette of sounds. Briggan Krauss on alto sax just amazes. His filigree mutterings, nail-splitting pronouncements and tortuosly convoluted arabesques continually surprise and entice. For a new look at "Jazz meets New Music" give this one a listen. You might grow some new ears.