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Creative juices must have been bouncing off the studio walls during the recording process of this band's sophomore album. The ten-piece unit includes several progressive-jazz notables, such as cornetist Taylor Ho Bynum and saxophonists Matt Bauder and Michael Attias. The perspicacious group-centric focus enlivens a wild Latin Jazz jamboree, where rules are most certainly meant to be broken.
This variegated set tenders an off-centered mix of convention with semi-structured chaos and a profound sense of the dynamic, as frenetic horns parts, fluid grooves, and pumping unison choruses surge the Latin element into an avant-gardist stance. The musicians' brash and in your face game plan, offers converging movements, spiced with torrid soloing breakouts and maddening climaxes.
They cover a gamut of divergent aspects, for example on "Perhaps the Artist was a Little Mad," a funk-rock pulse gives way to a multilayered, bold horn chorus, sparked by groovy bass lines amid vocal harmonies that feature spaced-out scat tirades. Otherwise, the ten-piece's polytonal theme-building escapades offer a comprehensive study in contrast, countered by periodic free-jazz breakdowns.
On "Dibrujo One," Kamala Sankaram's accordion work blends into a free-form jaunt, tempered by dainty melodies, deep bass and chilling percussion accents. Here, traces of Frank Zappa style ingenuity surface via the unorthodox twists and turns. They also pursue up-tempo burners during various segments of the program. Thus, this album is a far-flung, yet irrefutably gratifying outing that stalks newfound terrain, partly due to the musicians' aggressive interplay, unconventional tactics, and resplendent experimentation.
Track Listing: Cafe' Negro Sin Azucar; Garrison Ascending; Lessons Leanred from Seafaring Tales - It's Eternally; Perhaps the Artist was a Little Mad; Wolves and Blizzards; Dibrujo One; Deebrojo Two; Debruhoe Three; Dibroojoh Four.
Personnel: Taylor Ho Bynum: cornet, flugelhorn on (1); Abraham Gomez-Delgado: percussion, vocals on (4,9); Kamala Sankaram: accordion, vocals on (2-6); Mark Taylor: french horn; Reut Regev: trombone; Matt Bauder: tenor saxophone; Michael Attias: baritone saxophone; Pete Fitzpatrick: electric guitar, vocals on (5); Alvaro Benavides: electric bass; Tomas Fujiwara: drums.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.