New Mexico is recognized as an artists' haven, but not an area that features jazz-rock power trios. Nonetheless, there are always exceptions to the perceived rule. Marked by strong material, consisting of memorable hooks, guitarist Robert Branch's sizzling riffs and blitzing crunch chords steer the band through a string of tension and release stylizations.
The trio also strikes a chord that might parlay notions of classic prog-guitar heroes, Joe Satriani, Greg Howe and Allan Holdsworth. The rhythm section seldom overstates its cause, but generates enough heat for Branch's cleanly articulated lines and sustain-driven attack. They tone it down in spots through quaintly organized motifs and ethereal, loops driven passages.
The musicians sport a laid-back country-jazz gait on "Melancholia," where Branch ups the ante with a climactic and blistering solo. However, the trio does a 360 on the rapidly swinging "Not For Not," where Branch switches to acoustic piano. Essentially, this piece elicits notions of Chick Corea acoustic piano based modern jazz, largely due to Branch's fluent chord clusters and the unit's knotty time signatures.
It's not about reinventing the wheel or integrating nouveau concepts. Other than the appealing thematic movements, dynamics are employed as enhancements to primary themes and to Branch's solo spots. Subtle surprises are in abundance throughout.
Track Listing: Smelling Salt; The Conversation Has Ended; Disparate Measures; Glass Or Adams; Time Walk;
Melancholia; On The Bayou; A Change Is Gonna Come; Texas Street; Phase Coherence; Silent
Fury; Not For Knot; Emerson; Faulty Wiring; Mississippi Infraction; Pavanne For Mom.
Personnel: Robert Branch: acoustic and electric guitars, piano, fender rhodes, loops; David Furnas: electric bass; Joshua English: drums.
I was first exposed to jazz by my high school girlfriend's father. On the one hand he was the school's Vice Principal, on the other
he was a big Miles Davis fan. He gave me my first jazz record, Miles at the Blackhawk.