Revolutionary Snake Ensemble: Serpentine

Any jazz band, especially a brass band, that is willing and capable of taking on the erratic rhythms and wild fluctuations of a Frank Zappa instrumental is worthy of kudos. And the Revolutionary Snake Ensemble's take of "Son of Mr. Green Genes" on their release Serpentine demonstrates their immense musical capabilities.

The group was formed by saxophonist, flautist and composer Ken Field in 1990, and the album documents their performance at the Regattabar in Boston as part of their 35th anniversary tour. This is a band that is clearly having fun playing live, showing an enthusiasm and exuberance that feeds off the audience. And given the sparkly, flamboyant garb they perform in, they are probably fun to see as well as hear. Not to mention that there is just something joyous about having a tuba on stage.

'Experimental brass band' is a good nomenclature for them, as they can certainly bring the funk as well as any New Orleans- based brass band, as evidenced by the opening numbers, "The Skunk Is D'funk'd" and the Balkan-influenced "Buck." At the same time, Field writes intricate compositions with unusual rhythms and featuring soaring, dynamic solos that go beyond a typical brass band.

The band has soul too—their rendition of the old gospel standard, "The Water Is Wide," is poignant, following the two raucous opening songs, reflecting just the right combination of melancholy and wistfulness. The song brings the audience to a transcendent place, where the band can then take them on a journey with the more experimental numbers.

Field notes his time in the avant-garde band Birdsongs of the Mesozoic  as a starting point for honing his compositional craft. "That was a transformative experience," he said. "Birdsongs is an avant-rock band that's compositionally based. I learned a lot from all those guys, pushing all kinds of musical limits." His song "Present" is one of the album's highlights, starting with an almost simple horn line and rhythm before slipping into more complicated rhythmic changes with a muscular solo pushing the song along.

Field has surrounded himself with a strong cast of fellow musicians, with an especially astounding interplay among the horns. Without a chordal instrument, the band improvises more freely, such as the wailing on "Strange Cults" that touches on Albert Ayler territory before breaking into a steady beat and a strong melodic line. Songs like "Nezalezhnist" (Ukrainian for "independence") emphasize the tightness of the band, the horns in complete harmony, and the rhythm section handling the swirling beat masterfully. In fact, the way all the band members whirl around the melodies and beats of the compositions live up to the album's name.

They bring the album to a conclusion with a righteous rendition of the Reverend James Cleveland song "Never Grow Old" with a rollicking second-line feel to remind you that this band can shake it with the best of them. A great listen from start to finish—you will wish you had been there.