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From the start of the track "Hotttness" the organized chaos is at first unsettling, yet gives way to a tight hook in the exceptional debut Grass Roots by a newly formed collective who sound like they've been playing together for decades. The two lead voices consist of alto saxophonist wunderkind Darius Jones ( Man'ish Boy (A Raw & Beautiful Thing) (Aum Fidelity, 2009) and his equally gifted reed partner-in-crime, Alex Harding who masters the unforgiving baritone saxophone. But equally formidable is the smoldering rhythm section of drummer Chad Taylor and bassist Sean Conly that supplies enough heat and inspiration of their own to counter their fiery cohorts.
The seven tracks take no prisoners whether distributing hard bopping swing in "Flight AZ 1734" or relentless freedom in "Ricochet" in the modes of John Coltrane and Albert Ayler. Yet it's the harmonious and creamy center inside Taylor's "Whatiss" that keeps Jones's atonal intro more palatable as the band methodically negotiates, shapes, and churns the funky melody. Conly's "Schnibbett" is another highlightat nearly twelve minutes, its docile cadence is unhurried, but like a feral animal, equally threatening, as each musician intuitively collaborate and provide vibrant solos. Grass Roots is a searing introduction from a intrepid collective that is hopefully not a one-off.
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.