Viento Terral: Tunnel Visionaries

Through the release of Eh' Neeky! (Self Produced, 2016), a modern-leaning, multinational Latin jazz collective made its debut. And with this sophomore release from the Cologne-based quintet comes a more formalized identity, a collection of finely-sculpted compositions, and tuneful and percussive improvisations. The strengths of trombonist Andy Hunter and pianist Thomas Böttcher (who evenly split compositional duties), electric bassist Juan Camilo Villa-Robles, conguero Sebastian Nikoll and timbalero Daniel Hahnfeld prove complementary across this eight-song, all-original program.

The ensemble's name, citing an elemental brush between wind and earth, is an apt description for its art, where new thoughts blow in and find space to develop against stable surroundings. Opener "Before Big Ben," ushered in with Böttcher's piano lines and featuring Hunter's melodically-inclined slide work, Villa-Robles' ballasting lines and bubbling soloing, and Nickoll and Hahnfeld's simmering substructure(s) (both backgrounded and foregrounded), immediately establishes that truth. And it continues to hold sway throughout. On "Melting," Hunter's luminescent reflections lead the way and some attractively patternistic patter guides the music as it evolves and energizes in stages. With "Cold Front," guest tenor saxophonist Bob Mintzer joins with Hunter to make for a formidable front line that balances toughness, tenderness and soulfulness. And through the title track, more pointed pronouncements and weighted wonders take hold and shape.

Moving into the second half of the album with "Beside Myself," melodious musings take center stage. Both on his own and in conversation with Villa-Robles, Hunter makes a deep mark in that setting. Then things heat up on "Bombastian," where the title hints at stylistic origins and leanings; cool off—at first—with "The Pines," introduced by Böttcher's elegant play, carried forward by Hunter, flirting with something spicier as Villa-Robles blows, and finding a glorious gear in its final act(s); and conclude with the high-energy "Badideledeedop," where Nickoll and Hahnfeld cut loose and absolutely kill. On Tunnel Visionaries, five work as one to set up and supplant motifs and grooves in artful ways, crafting and reconfiguring entrancing lines and latticework in inimitable fashion.