Label: Pi Recordings, 2021

Personnel - Henry Threadgill: alto saxophone, flutes; Liberty Ellman: acoustic guitar; Jose Davila: tuba, trombone; Christopher Hoffman: cello; Elliot Humberto Kavee: drums.

The unparalleled saxophonist Henry Threadgill, a primary figure in the modern creative and avant-garde jazz worlds for years, returns with his Zooid project. As per usual, the musical personalities of the musicians involved in Poof - guitarist Liberty Ellman, tubist/trombonist Jose Davila, cellist Christopher Hoffman and drummer Elliot Humberto Kavee - contribute plenty of exoticism and lyricism to the uniquely developed compositional forms of the bandleader, in a quirky confluence of sounds that create engrossing paths of inquiry.

Take the example of the opener, “Come and Go”, which assumes the shape of an atypical marching procession embracing hopping tuba groove, quizzical cello melody, folksier guitar pointillism, conversational alto sax fluency, and an unobtrusive rhythmic layout on the drum kit. It might seem disjointed at a first glance, but rest assured that all coheres with gorgeous effulgence.

The title track gets the ball rolling with a busy dialogue, which is put on halt, firstly when Ellman plays unaccompanied, and then when Threadgill’s alto takes the lead with irresistible pathos. Hoffmann then follows them, talking brightly.

“Beneath the Bottom” probes interesting tones with the contrast created by trombone, cello, flute and guitar. It remains within a nebulous sonic cloud until the appearance of an elegant groove. Also interesting is “Happenstance”, which counterpoints calmness and tension through cello shrieks and unflappable acoustic guitar. In the course of his magical solo, Ellman demonstrates why his sound and approach are distinctive, and later on, it’s Kavee who reminds us that he has a beat of his own. The final section brings both in-sync and contrapuntal movements.

Pushing the pulse with wry pleasure, the incisive and sophisticated “Now and Then” wraps up the album with genuine group cooperation and an outstanding multiphonic finale.

This is a great return from Threadgill, who showcases the poetic puzzlement of his compositions and that magical style that leaves us marveled.