Phi-Psonics: Expanding to One

Expanding to One, Phi-Psonics' third album, was recorded over six live sessions in front of a small audience in a record shop in Pasadena, with the core quartet of Seth Ford-Young (leader and bass), Josh Collazo (drums) Sylvain Carton (sax and flute) and Randal Fisher (sax) supplemented by 11 additional musicians including Jay Bellrose (recently heard playing with the Jeff Parker IVtet). The tracks they recorded over those dates, and which now make up the four sides of double LP Expanding to One, were largely composed in the moment, though a small number are credited to Ford-Young alone.

The record starts strongly and in Phi-Psonics accustomed spiritual jazz style. The twin tenor interplay on "There's Still Hope" is unusual and interesting. "Many Paths" burns slowly and benefits from enough textural variety between the soloists to keep things interesting. "Healing Time" features some unexpectedly rootsy guitar from Dylan Day. "Nature Signs" is an intimate conversation between bass and flute, played with freshness and restraint.

"Sunrise" is maybe the highlight of the entirely co-composed tracks. Ford-Youngs bass takes center stage and sets the pace amid some subtle drum work from Collazo. The track builds layer on layer, with some exquisite Wurlitzer piano from Zach Tenorio-Miller.

"Discovery" is another beauty, opening with a bass line quoting (fittingly) John Coltrane's A Love Supreme. Bellrose and Ford-Young work together in great sympathy while Tenorio rains down sparkling Wurlitzer lines.

Other tracks lose their way. The improvised piano and voice duet "Before the Pyramids" is promising, with a splendid vocal performance from Sheila Govindarajan who sings with remarkable confidence and clarity. After a few minutes, though, it runs out of steam and just stops. On closer "Mysteries of the Dark," a brooding vamp gathers pace, propelled by some chilly guitar from Dave Harrington, towards a rolling crescendo but, having got to the top of the mountain, the band do not know how to get back down again and the track ends with a disappointing studio fade.

The three composed pieces bring discipline and form but are not always successful. There is a fair amount of modal business here, and "Love Theme From Your Life" offers a rare chance to play over changes only to stifle the soloists by not allowing enough time for them to really stretch out. The strongest of the composed tracks is "A New Pyramid." After a tranquil start, Fisher's tenor emerges from a soft passage alongside Carton's flute, slowly at first, before taking flight into a fierce solo. The rest of the band respond to his energy with enthusiasm, creating the most exciting passage on the record.

This is an enjoyable and engaging, if at time frustrating, listen. The ensemble play with empathy, subtlety and concentration. The live vibe is infectious; though the audience are scarcely heard, they remain a presence throughout. The engineering, mixing and production, all by Ford-Young, are excellent. There is a lot to discover in this music which will bear repeated, deep listening. If only they had done a bit more work on finding the exit.