In the very beginning of 2023, it is time for Mário Costa’s sophomore take on his more personal and authorial project. The new album is titled Chromossome, named after Costa’s rigorous and custom-made writing, considering the DNA of each one of the musicians that he carefully handpicked for the project. Listening to Chromossome it is easy to be enticed by that acute detail of compositions thought as a means to explore each performer’s qualities, enhancing the genius of these captivating and staggering nine tracks. If we keep in mind that Cuong Vu’s trumpet can be found in Bill Frisell, Pat Metheny, David Bowie or Laurie Anderson’s projects, that Bruno Chevillon’s double bass is an habitué in bands lead by Louis Sclavis, Michel Portal or Daniel Humair, and that Benoît Delbecq’s piano has found its way into the music of such diverse protagonists as Evan Parker, Mark Turner or Mary Halvorson, we may get a pale idea of the musical gathering that is taking place here. But only a pale idea because the music that is born out of this four brilliant and very different personalities is greater than the sum of its parts. Each track that Mário Costa offers his accomplices feels like a red carpet for them to explore on, creating the ideal context for a miraculous musical response. And having said that, it is still so little a description. Only music can truly speak for the bewilderment and the creativity outburst that unfolds from Chromossome.
