Sean Nowell: The Kung-Fu Masters

The Kung-Fu Masters isn't simply another album for tenor saxophonist Sean Nowell; it's the recorded coming out party for a band and concept that he's been tweaking and promoting for years. Nowell has been field testing this project in New York jazz spots like 55 Bar, and his website contains various recorded performances of the group at the club dating back to 2009, but this marks the first official outing from this forward-thinking beast of a band.

The Kung-Fu Masters marry funk with post-modern jazz and electronica elements to create an offbeat, beat-heavy blend of music that's brilliantly propelled by drummer Marko Djordjevic. He comes across as a mutated Mike Clark, capable of delivering The Headhunters-worthy grooves and imitating the ever-looping beats that serve as the heartbeat for dance floor mixes; he may not be the front-and-center star of this date, but the success of this music rests squarely in his hands.

The rest of the band—which includes two keyboardists, a bassist and two other horns that keep Nowell company in the front line—does a fine job navigating its way through the saxophonist's music. Bassist Evan Marien is completely in sync with Djordjevic, and keyboardists Art Hirahara and Adam Klipple (who also works the organ) alternate between delivering earthly delights and otherworldly sound bites. The horn section functions together like a modern dance club version of the JBs, nailing tasty riffs into place over the rhythm section, but its members also get the chance to individually break away on occasion and stand apart from the crowd.

Futurism finds its way into most of these pieces, yet the music speaks to the ears of today. Nowell's electro-acoustic creations skirt normal jazz conventions while fully adhering to the core philosophy of jazz as an all-absorbing, ever-evolving entity. The Kung-Fu Masters seem like a band that would embrace pianist Herbie Hancock and Squarepusher, rather than viewing them as diametrically opposed forces in music. Maybe that makes this jazz for the rave generation or, perhaps, it just marks this as compelling stuff that doesn't need to be placed into a labeled bin.