Shuffle Demons: Are You Really Real

Celebrating four decades of genre-blending jazz, the Shuffle Demons return with Are You Really Real, a studio album that fuses funk, post-bop, theatrical satire and spiritual jazz. Influences ranging from Eric Dolphy and Alice Coltrane to the Red Hot Chili Peppers shape the band's eclectic high-energy aesthetic.

The opening track, "X Marks the Spot," sets the tone with multivoiced saxophone lines and a rhythm section that oscillates between swing and funk. Tenor saxophonists Kelly Jefferson and Matt Lagan exchange solos that move from modal runs to jagged intervals, echoing John Coltrane's mid-'60s quartet. The piece showcases the group's tight ensemble writing and rhythmic agility.

The title track, "Are You Really Real," reflects on AI and authenticity through Richard Underhill's rhythmic spoken vocals over a groove that echoes Tower of Power horn stabs and a locked-in rhythm section.

"Money is My Only Religion" pushes further into satire with Underhill's vocals set against syncopated funk and richly arranged horns. The arrangement recalls the theatricality of Tom Waits and the harmonic density of Weather Report. Rhythmic tension between the reeds and rhythm section builds to an expertly arranged finish.

In the contemplative "Out to Sea," Underhill's saxophone unfolds over ambient textures, creating a meditative atmosphere reminiscent of Pharoah Sanders' spiritual jazz. The slow-building structure reveals the group's introspective side while maintaining the flow.

"Ride the Wave" explores 7/4 time through layered repetition, subtly echoing Steve Reich. Mike Downes's bass solo is lyrical and restrained while the horns interlock in shifting patterns. Stich Wynston's drumming adds shimmering textures that lend the track a trance-like forward motion.

The album's stylistic breadth deepens as it progresses. Wynston's "Good Mourning" leans into Ornette Coleman's harmolodics with interwoven horn lines creating a restless atmosphere. Drum solos disrupt the walking bass and saxophone narrative with expressive bursts, adding controlled chaos to the track's volatility.

Jefferson's "Bottom Dollar" draws from early '60s R&B-jazz crossover, propelled by blues-infused tenor phrasing and a punchy rhythm section. The groove has a vintage feel, but the execution is sharp and contemporary. Jefferson's soloing walks a line between muscular phrasing and measured restraint.

Lagan's "Scala Rosa" brings a cerebral contrast with sparse textures and angular lines anchored by Wynston's colour-rich drumming—melodic in its own right. The piece features focused solos from both Lagan and Downes, emphasizing space and structure over density.

"Sunny Side Up" adds a New Orleans second-line rhythm and buoyant a cappella sax passages. The horns nod to old-time tunes and Downes performs a swinging bass solo grounded in classic jazz language. The track's shifting textures channel Charles Mingus's flair for blending tradition with irreverence.

"Prism" dives into group improvisation, producing a raw, exploratory soundscape. A dialogue between bass and drums during the solo is tense and filled with unexpected turns.

"In the Air," composed by Underhill, returns to structured hard bop with driving swing and sharply defined horn lines. Tenor duels and crisp rhythm section work fuel the piece with late-Coltrane urgency.

The momentum continues through two groove-driven closers. "Nice Signal" rides a fat repetitive funk riff reminiscent of '70s Grant Green and the The Meters. The saxophones are phrasing-oriented, prioritizing groove over harmony. The result is lean, infectious and tightly constructed.

"Run the World" fuses Afrobeat with bebop energy, layering Fela Kuti-inspired rhythms with punchy, meticulously crafted horn lines. The saxophones use rhythmic motifs as propulsive elements while polyrhythmic drumming reinforces the groove's intensity.

Are You Really Real captures the Shuffle Demons at their most versatile and inventive. Balancing social commentary with genre fluidity and ensemble precision, the album reaffirms their commitment to pushing jazz into bold, unexpected directions.

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