It’s a mellow start from the painted-nose jazz trio, with a jinking piano melody building to a climax before settling back into the groove established by the rhythm section. Although their dress may resemble clowns, they certainly do not mess around on their instruments. The next song dashes headlong, led by the flying, fleeting fingers of piano virtuoso H Zett M, cymbal work of drummer H Zett Kou and sprinting bassline of H Zett Nire. It’s non-stop energy, like the stage had been invaded by demented clowns on cocaine with a jazz fetish. There’s back and forth between drums and piano, the jerky melody of piano against the pure power of drums. It descends into calm for a blessed minute before erupting into controlled chaos again and melodic mayhem.

Their set mixes pure breakneck speed jazz with fun, their rendition of the Imperial March from Star Wars a jarring, daunting and discordant version. They follow this with a bouncing number punctuated by clown calls, a no-look piano solo from underneath the instrument itself and a staccato, thudding bass solo. Without a pause, it’s into a a snapping, snazzy song with prominent, tapping rhythmic bass solo. The exuberant set continues until the piano is replaced by a keytar. With this new instrument, the playing becoming even more crazy, keytar solos played with the instrument behind M’s back while he strolls across the stage with his blue nose bopping.

The keytar then shifts to more electronic tone, pulsing rhythm coming from bass and drums as the tone shifts to electronic dance music. But the jazz comes back to finish the set and the circus theme creeps back into the melody, the clowny fun added to by the energetic jumping and flailing on stage from the band. They finish the set with a calmer, statelier number that lets everybody catch their breath to say goodbye.


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