Donny McCaslin: Lullaby for the Lost

Saxophonist Donny McCaslin and his band's collaboration on David Bowie's final album Blackstar (ISO Records, 2016) marked a pivotal moment in McCaslin's career. Following Bowie's death just two days after the album's release, McCaslin transitioned from being a well-respected jazz musician to achieving international recognition. His band's innovative contributions helped make Bowie's final album a critically acclaimed late-career highlight.

Since then, McCaslin's brand of innovative, contemporary jazz fusion has continued breaking through barriers to define a distinctive sound that draws on electronica, rock, and sophisticated production techniques. He is supported in this endeavor by a rotating cast of musicians, including key Blackstar personnel keyboardist Jason Lindner and bassist Tim Lefebvre (who also serves as producer), along with guitarist Ben Monder, bassist Jonathan Maron and drummers Zach Danziger and Nate Wood.

McCaslin channels the raw energy of live performance to focus deep-seated power throughout the album. As he explains, "The balance of expressing passion, anger, and the wonder of beauty, while striving for oneness with the band has led to this moment." One inspiration for this approach was Neil Young's seminal 1989 Saturday Night Live performance of "Rockin' in the Free World," which McCaslin describes as "an iconic moment in music history." That electrifying energy surfaces powerfully on "Blond Crush," where Danziger's drums power the hard-driving rock foundation while McCaslin's tenor saxophone launches a full-throttle attack, supported by electric bass, guitars and synthesizers.

That edgy inventiveness flows through the album. "Solace" has a great sense of dynamics as McCaslin's sax melody flies over the soulful groove before changing pace as his improvisation is brought to the top of the mix before building back up to a wall of sound to close. Co- composed with Lefebvre and Lindner and with a nod to Weather Report, "Celestial" is another highlight; synthesizers provide electronic textures to combine with the catchy, high-octane repeating sax motif, which builds waves of crescendos.

"Stately" and "Mercy" demonstrate that amid the high-octane approach, there are moments of subtlety and understatement that provide contrast to the drama, much of which emerges from the skillful studio integration of electronic effects and delays. The unease that builds slowly in the title track serves as a precursor to McCaslin's terrific solo, where Monder's guitar weaves intricate patterns around the saxophone, evolving from a steady pulse to full takeoff. In sharp contrast, "Kid" showcases echoing saxophone effects and a distinct 1980s vibe as the band shifts to a trio format, with Lefebvre providing synthesizers, electric guitar and bass.

This album stands out immediately through its fusion of studio precision, high-energy raw performances and sophisticated improvisation. "I don't think I've ever been happier with how a record turned out than this one," McCaslin reflects, "It's meaningful, it's urgent, and it's me." The hard-hitting rock influences have indeed yielded emotionally expressive compositions that the band conveys with both conviction and muscularity. Never one to shy away from breaking down musical barriers, McCaslin and his bandmates often visit uncharted territory as they craft something fresh and vibrant from their progressive expression of jazz, rock and contemporary electronica.

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