Steve Coleman and Five Elements - PolyTropos / Of Many Turns

October 24, 2024

Label: Pi Recordings, 2024

Personnel - Steve Coleman: alto saxophone; Jonathan Finlayson: trumpet; Rich Brown: electric bass; Sean Rickman: drums.

Alto saxophonist and composer Steve Coleman returns with two live sets recorded during his tour in France, showcasing his acclaimed Five Elements band: Johnathan Finlayson on trumpet, Rich Brown on electric bass, and Sean Rickman on drums. This ensemble continues to represent some of Coleman’s most powerful and expressive. His signature blend of modern jazz-funk and M-Base remains as relevance as ever, further energized by the double album, PolyTropos / Of Many Turns, which draws inspiration from chains of amino acids. The compositions revolve around intricate musical figures, creating a spontaneous language Coleman refers to as Tonal and Temporal Molecules.

Disc one opens with “Spontaneous Pi”, where Coleman makes of a bluesy phrase the point of departure of a solo introduction that expands with consistent ideas and motivic intentions. Staccato precision triggers a funky bass groove and propulsive drumming before the horn players join in, navigating a 18-beat cycle with fluid ease. The band maintains close communication as the texture shifts into a 5/4 tempo section. The preparative scenario repeats on “Spontaneous One”, which features passages of tactful harmonic understanding and an engaging groove that supports both impressive horn coordination and individual improvisation.

“Spontaneous All” strikes a perfect balance between freedom and form, bringing us polytonal fantasy and featuring a drum spectacle over a 15-beat cycle bass underpinning. Coleman weaves in and out of the lattice created by the rhythm team before the groove mutates, accumulating more body and energy. Finlayson’s trumpet adds playful interplay to the evolving landscape. Yet, the raw spirit of their performance is further reflected in “Mdw Ntr”, a high-speed piece driven by a continuous bass flow and infectious drum fills.

“Multiplicity Drum” starts with thick, resonant bass lines, with the horns unhurriedly ambushing the texture, creating a well-proportioned mosaic. The bouncing funk operations and danceable pulsations of bass and drums, respectively, evokes the spirit of punk and electronic music. It’s the vivacious, deep-funk rapport between Brown and Rickman that gives the album its backbone, and they pair up with devastating force in “9 to 5”, a kinetic piece with centrifugal crossflows that produce a full sound without the need of chordal instruments.

Disc two surprisingly includes Billy Strayhorn’s “Lush Life” as a sax intro to “Pi”, and a loose, horn-only rendition of Thelonious Monk’s “Round Midnight”, exploring Coleman’s unique concepts. The bandleader’s creative genius is undeniable, and PolyTropos / Of Many Turns displays the same level of ambition and quality found in his finest studio recordings.

Favorite Tracks CD1:
02 - Spontaneous One ► 04 - Mdw Ntr ► 06 - Multiplicity Drum

John Scofield - Uncle John's Band

October 12, 2023

Label: ECM Records, 2023

Personnel - John Scofield: guitar; Vicente Archer: bass; Bill Stewart: drums.

Renowned American guitar virtuoso John Scofield, whose inspirational playing alternates between incendiary and velvety smooth, unveils a captivating new trio album that features him alongside distinctive sidemen such as bassist Vicente Archer and drummer Bill Stewart. The former rejoins the other two five years after Combo 66, while the latter has been a consistent collaborator of the guitarist since 1991. Across the 14 tunes comprising Uncle John’s Band (titled after the Grateful Dead’s 1970 folk rock song), Scofield paints a vibrant spectrum of sounds, upholding his inimitable spirit while maintaining a sharp focus and a distinct sense of identity.

Scofield is credited with half of the material, but the record opens with a rendition of Bob Dylan’s classic, “Mr. Tambourine Man”. Droning electronics in loop accompanied by bright cymbal continuum and a resistant bass pedal underpin an introductory section that prominently features the guitar. Under the strong folksy spell of the song, Scofield opens new perspectives as his solo unfolds. Subsequently, Archer follows suit, impregnating his statement with airy waves.

The uptempo hard-bop groove of “How Deep” and the cool jazz vibe of Miles Davis/Bud Powell’s “Budo” showcase nimble jazz maneuvers executed with muscle and an unabashed swinging posture. Coming from the guitarist’s pen, “TV Band” and “Nothing is Forever” (a heartfelt tribute to his late son Evan) are loaded with generous amounts of groove, presenting a scintillating combination of melodic and chordal prowess. They are exquisitely polished to perfection in its final touches. The emotional resonance within these two pieces is particularly noteworthy.

Shifting gears, the country-tinged hues of “Back in Time” and the folk-rock essence of Neil Young’s “Old Man”, which rounds off the first disc, are seamlessly enveloped in a tasteful jazz veneer.

On CD2, the musical landscape feels even more elastic. The highlights are the frail standard jazz ballad “Stairway to the Stars”, propelled by Stewart’s sensitive brushwork; “Mo Green”, a soulful jazz-rock head-nodder with a great funky riff at the center; and “Mask”, which epitomizes jazz-funk at its best, leaving ample room for Stewart’s brilliant commentary.

Placing a high premium on sound clarity and fresh musical ideas, this album is an absolute must-listen for Scofield enthusiasts, offering a delightful collection of eclectic tunes infused with his signature electric vibe.

Favorite Tracks:
03 (CD1) - TV Band ► 06 (CD1) - Nothing is Forever ► 03 (CD2) - Mo Green ► 04 (CD2) - Mask

Mehdi Nabti & Prototype - Continuum

August 28, 2023

Label: Self released, 2023

Personnel - Mehdi Nabti: alto saxophone, claves, composition; Thomas Morelli-Bernard: trombone; Philippe Bernier: electric guitar, trombone (#3); Nicolas Lafortune: electric bass; Alain Bourgeois: drums; Kullak Viger-Rojas: congas.

Prototype is an inviting progressive project from Paris-born, Montreal-based alto saxophonist Mehdi Nabti, who vouches his serious eclectic jazz pedigree and compositional style. His latest body of work, Continuum, develops in the same contemporary world jazz-funk line as the previous entries but denotes a few novelties worth exploring.

“Astarté” is a precise rock-inflected exercise with strong Northern African type of melody atop. The arrangement is metronomic, with regular bassist Nicolas Lafortune and new drummer Alain Bourgeois ushering us to the changes while buoying the solos in the company of guitarist Philippe Bernier. The latter, who replaced Joy Anandasivam, and the bandleader delivered stately improvisations on this number.

Powerfully polyrhythmic, “Trantor” reinforces the go-getter attitude via the solos from Nabti and trombonist Thomas Morelli-Bernard, whereas the less exuberant “Garamantes” is propelled by ornate guitar pointillistic patterns and the driving congas of Kullak Viger-Rojas. Regardless of the caravan-like pace, this is a tonal piece of epic ambition.

Curling bass lines invade “Laptis Magna”, which, being fluid and harmonically perceptible, evolves with odd-meter and an underlined funky feel. There’s a vamp for the drummer at the end, just like on the following track, “Positron”, which burns in seven with a catchy, optimistic theme that seems inspired by singable R&B and rock harmonic resolutions.

Unanticipated is also the lively closer, “Techno Sapiens”, which emulates the genre mentioned in the title with reiterative energetic riffs. Imagine a Latin rave with propulsive congas while the guitar infuses funk counterpoint in the accompaniment.
Continuum is another bold entry in Nabti’s discography, one that deserves consideration as the music agitates with stoutness.

Favorite Tracks:
01 - Astarté ► 02 - Trantor ► 03 - Garamantes

Meshell Ndegeocello - The Omnichord Real Book

July 26, 2023

Label: Blue Note Records, 2023

Personnel includes - Meshell Ndegeocello: vocals, bass, omnichord, keyboards, key bass; Jebin Bruni: piano, keyboards, B3 organ, vocals; Josh Johnson: saxophone, vocals; Chris Bruce: acoustic guitar, bass, vocals; Abe Rounds: drums, percussion, vocals; Jeff Parker: solo guitar; Julius Rodriguez: clavinet, B3 organ; Deantoni Parks: drums; Joel Ross: vibraphone; Mark Guiliana: drums; Sanford Biggers: vocals; Joan As Police Woman: vocals; Cory Henry: piano; Jason Moran: piano; Ambrose Akinmusire: trumpet; Thandiswa Mazwai: vocals; Burniss Travis II: bass; Brandee Younger: harp; and more.

The music of singer-songwriter, bassist and composer Meshell Ndegeocello is filled with socio-political commentary and shaped with the help of substantial production. The music, often levitates while the words weigh a ton over beats and rhythms that flow with purpose. Yet, her super polished new outing, The Omnichord Real Book, the first for Blue Note Records, is more of a contemporary R&B record composed of cerebral, groove-centered numbers that, being a hodgepodge of different influences stitched together, not always works for my ears.

Even if most of the album's 17 tracks don’t achieve the desired impact, there are some that stand out, being particularly recommended: “ASR”, which blends a Pharaoh Sanders-like vocal riff with a funk revival instrumentation that takes us to Chic, Funkadelic and Sly & The Family Stone; “Vuma”, a celebratory African gesture at its sneaky finest with vocals from South African singer Thandiswa Mazwai, a 10-beat cycle groove on the bass, and Joel Ross’ admirable vibing; and “Clear Water”, a Sly Stone-inspired funk song with a taste of Prince in the vocals, featuring guitar solos by the amazing Jeff Parker and wah guitar strumming by Chris Bruce, who doubles on bass.

As second choices I would point “Omnipuss”, a funk meets afrobeat instrumental piece; and “Virgo”, a neo-soul/smooth-funk swoop touching on spiritual rebirth and ancestry with the help of harpist Brandee Younger, Julius Rodriguez on Farfisa organ, and Ndegeocello’s snappy key bass.

All songs fit in the album’s fabric but pieces like the African-flavored “Georgia Ave”, which incorporates omnichord and acoustic guitar; “An Invitation”, whose alternative R&B style empowered by a bold beat; and “Perceptions”, an ear-candy soul-pop song driven by the piano of Jason Moran, didn’t live up to my expectations. Despite the collaboration with trendy individualities of the jazz genre, The Omnichord Real Book fails to bring out the appeal of The Ventriloquist (Naive, 2018), Ndegeocello's previous album, and the candor of more stripped-down, less produced albums such as Weather (Naive, 2011).

Favorite Tracks:
06 - Clear Water ► 07 - ASR ► 15 - Vuma

Miles Okazaki - Thisness

April 26, 2022

Label: Pi Recordings, 2022

Personnel - Miles Okazaki: guitar, vocals, robots; Matt Mitchell: piano, Fender Rhodes, Prophet-6; Anthony Tidd: electric bass; Sean Rickman: drums.

Thisness is the third installment of Trickster, a stellar quartet led by the virtuosic guitarist Miles Okazaki and featuring keyboardist Matt Mitchell, bassist Anthony Tidd and drummer Sean Rickman. What they do here is simply mind-blowing, adding a compelling new dimension to the guitar-keys-bass-drums story by making complex music sound phenomenally natural. The bandleader, who has been playing a vital role in the adventurous jazz scene since the mid 2000s, took inspiration from a particular watercolor by his painter mother Linda Okazaki, the writings on Surrealism by the historian Robin D.G. Kelley, architectural concepts from producer David Breskin, and the poetry of space-jazzist Sun Ra. The four movements brought by this psychedelic jazz outfit are prescribed with the following motivational statement: “In some far off place, years in space, I’ll build a world and wait for you.”

The opener, “In Some Far Off Place”, serves its surreal purposes by showing off an unhurried, breathy, and dreamy flow. Okazaki’s guitar artistry, rooted in progressive jazz-funk, is extended here to a mix of Brazilian and fusion sounds. The unobtrusive vocals, recalling some recordings of the Pat Metheny Group, soar on top of an intensely funkified texture, and the piece becomes edgier near the end via some effective rhythmic mutations.

“Years in Space” brims with entrancing wah-wah sounds and groovy guitar vibes, presenting funk elasticity on the bass and drums, and coming out with pianistic brilliance, whether in the colors infused in the chords or single-note courses. Everything is balanced to the core. The flux decelerates to a lushly harmonic 12-beat cycle delivered at medium speed, and the piece is completed with a neat tussle between piano and guitar.

Despite plunging into this enigmatic world of sounds, this recording is pretty accessible, conjuring imaginary scenic views that suggest color, tone, shape and texture. That’s the case with “I’ll Build a World”, where bop-inflected lines laid down on top of a drum’n’bass net provide frissons of wit and excitement. Here, Rickman adds a restless charge to his drumming.

Exhibiting a full-wooded bass statement right at the beginning, “And Wait For You” brings this urgent funky cast that combines polyrhythmic elements into a subversive catchy sound. The keyboard effects are great, with all four musicians displaying a masterful control of time and texture. Disarming and triumphant with its advanced level of sophistication, Thisness is Okazaki’s masterpiece. An unmissable treat.

Favorite Tracks:
01 - In Some Far Off Place ► 03 - I’ll Build a World ► 04 - And Wait For you

Dave Holland - Another Land

May 25, 2021

Label: Edition Records, 2021

Personnel - Dave Holland: bass; Kevin Eubanks: guitar; Obed Calvaire: drums.

Dave Holland is a mighty bassist who is equally at home in world fusion and post-bop environments as with avant-garde ensembles. Another Land is a blistering fusion work delivered with a new trio that includes the versatile guitarist Kevin Eubanks, a longtime associate whose first collaboration dates back to 1990 (Holland’s quartet album Expansions), and drummer Obed Calvaire, a member of the SFJazz Collective since 2013, who joins him on record for the very first time.

The album’s nine instrumentals - four by Holland, four by Eubanks and one by Calvaire - will keep you engrossed in a kaleidoscopic musical sphere molded with startling emotional honesty.

Eubanks’ “Grave Walker” invites you to cut a rug at the rhythmic consistency of a pungent funky bounce strengthen with thoroughly imposing accents. A calmer passage emphasizes Holland’s lilting phrasing, and then there’s bluesy guitar licks fusing with tenacious rock washes, causing a radiant energy to build up.

Penned by Holland, the title cut is a soothing charmer grounded in a bass figure that gives a measured pace to the route, fortifying it with modal impression and groove. The acoustic guitar invests in an irresistible folk jazz intonation, precipitating Holland into a picturesque storytelling that stimulates the imagination.

Alluding to a deplorable year, “20 20” kicks off on a sad note, bolstered by a morose arco bass, but soon metamorphoses entirely by juxtaposing Jimi Hendrix-inspired chops with the exquisite curves of the Miles Davis Quintet and the weeping bends of the blues genre. A concluding rocking vamp brings Calvaire’s astute stretches to the fore. The drummer’s compositional traits are fully expressed on “Gentle Warrior”, which, propelled by a bass figure in five, soars into a higher plane with inward funk disposition, African folk magic and an ecstatic, rock-powered guitar solo that evokes… Hendrix once again.

The funk-rock feast continues with titles such as “Mashup”, which burns with groove before climaxing in a vamp in five, and “The Village”, which seamlessly handles changes of meter.

Holland’s allegiance isn’t to genre but to musical excellence. Whatever the context his group plays in, their sense of unity and enjoyment becomes evident, not just while riding the great themes but also when departing from the written notations to embark on thrilling improvised stories.

Favorite Tracks:
02 - Another Land ► 03 - Gentle Warrior ► 07 - The Village

Orlando Le Fleming - Romantic Funk: The Unfamiliar

September 15, 2020

Label: Whirlwind Recordings, 2020

Personnel - Philip Dizack: trumpet: Will Vinson: alto saxophone; Sean Wayland: keys; Orlando Le Fleming: acoustic and electric bass; Kush Abadey: drums; Nate Wood: drums.

New York-based British bassist/composer Orlando Le Fleming pushes the envelope on the second installment of his Romantic Funk project, The Unfamiliar, a deep incursion into jazz-funk, which marks his debut on the Whirwind Recordings. The funk and jazz lexicons intertwine and consolidate with wisdom in this exciting tribute to the fusion of the 1980s. The album was recorded in studio after all its original compositions have been developed in the course of an extended residency at the emblematic 55 Bar in New York. Le Fleming, whose writing and playing are as much astute as they are focused, performs in the company of close cohorts - trumpeter Philip Dizack, alto saxophonist Will Vinson, keyboardist Sean Wayland, and drummers Kush Abadey and Nate Wood.

The album's opener, “I’ll Tell You What it is Later”, is a buoyant fusion inspired by Miles Davis and carries a deep-funky, Herbie Hancock-like groove enhanced by sprightly popping bass lines and sustained synth atmospheres. The horn players cooperate in relaxed unisons, intensifying the polyrhythmic feel before unleashing enthralling improvisations. Whereas Dizack’s post-bop routes conjure Miles in a beautiful way, Vinson’s searing lyrical statement sweeps effortlessly over the rich rhythmic tapestry. This track segues into “Waynes”, a soul-funk-jazz hybridity with more settlements than collisions. The tune, inspired by saxophonist Wayne Shorter and guitarist Wayne Krantz, thrives with slippery, conversational tradeoffs between trumpet and saxophone, and then welcomes Wayland’s slightly dissonant synth infiltrations and bold clusters for a more adventurous effect.

There are other kinetic funk numbers delineated with vivid grooves at their cores and pure melodic grit atop: “FOMO Blues” and “Mischievous” are notable examples. Having the versatile Nate Wood at the center here, the former piece pulsates with passion and energy, and everything floats over a rhythm section that deserves applause. The latter number is no less mesmerizing, oozing reed-killing incursions and managing to interlock slick tempo variations. Although these are tightly-packed pieces, they’re never too strained or dense or impenetrable.

Yet, the bassist also incorporates laid-back pieces in the program. They are not only imbued with collective performing intuition and startling intimacy, but also open spaces that the musicians can fill. An example is “The Myth of Progress”, an impeccably structured vamp-like piece in nine with expressive unisons working as bridges for lyrical solos, including bass. Then there’s “Struggle Session”, which comes at you as a rubato poem majestically propelled by Abadey’s inventive drumming.

With the group members on the same wavelength, the music works as it should.

Favorite Tracks:
01 - I’ll Tell You What it is Later ► 03 - The Myth of Progress ► 05 - FOMO Blues

Winston Byrd - Once Upon a Time Called Right Now

March 6, 2017

Winston Byrd: trumpet, flugelhorn, trombone; Mahesh Balasooriya: piano; James Santangelo: piano; David Sampson: guitar; Julian Coryell: guitar; Steve Graeber: tenor saxophone; Mark Zier: keyboards; George Rabbai: trumpet, vocals; Nick Rolfe: keyboards, synth; Mike Boone: bass; Mychael Lomas: bass; Donzell Davis: drums; Gene Lake: drums, etc.

Winston Byrd is a versatile trumpeter who developed his own language while playing on the road in small and big bands. Despite the past collaborations with David Murray and Oliver Lake, his musical instincts are not oriented to the styles of those two. In Once Upon a Time Called Right Now, he rather blends straight-ahead and traditional jazz, hard bop, soul, and funk in considerable amounts, joining the influences of Dizzy Gillespie and Arturo Sandoval, and the jazz fusion of Larry Coryell and Blood, Sweat & Tears, with whom he played before.

Ornette Coleman’s “Ramblin” is a thrilling festivity that oozes wha-wha funk and bracing sound effects from every pore. It ends up with an unabashed collective improvisation and bass solo.

Retrieved from the musical Evita and arranged by Joel Martin, “On This Night Of A Thousand Stars”, a composition by Andrew Lloyd Weber, is an excellent showcase for Byrd’s virtuosity. The interesting treatment this song was subjected to, includes multiple changes in pace and groove, and also features the crisp rumbles of Steve Pemberton on drums.

An electrifying version of Frank Loesser’s “Brotherhood of Man”, where the bandleader has the company of George Rabbai on trumpet and James Santangelo on piano, makes us jump, while Eric Otis’s “Grandma Jo’s House”, transforming a 3/4 into a 4/4, cools the temperature down with its moderate swing.

Anticipating Dave Brubeck’s “Blue Rondo A La Turk”, in which the pianist Mahesh Balasooriya lets out a mix of classical and jazz temperaments, we have the crossover jazz of “Borrowed Time”.

In “Anne Rising”, an illuminated ballad, Byrd embarks on a duet with the pianist Steve Rowlins. He accelerates the pace in “Mumbles”, a provocative bebop blues composed by Clark Terry, where he scats with Rabbai. The tune culminates with Byrd saying: ‘love ya grandpa Clark!’.

The following couple of tunes are the product of the collaboration between Byrd and his right hand, Giovanni Washington-Wright, who besides composing, also produced, arranged, and orchestrated in this recording. “Times”, the first original of the recording, is dominated by the eloquent guitar by Julian Coryell who sounds pretty much like Gary Moore. The second and last, is “Brown Eyes”, a smooth funk that invites us to a deep breath while relaxing to the cool sounds of the band.

Winston Byrd’s third record will cheer you up with its moods, grooves, and gracious amplitudes. From the arrangements to the interplay, the quality and consistency of the whole are guaranteed by the participants’ synergies and dynamics.

Label: Ropeadope, 2016
Favorite Tracks:
01 – Ramblin ► 03 – Brotherhood of Man ► 10 – Brown Eyes

Charlie Hunter - Everybody Has A Plan Until...

February 14, 2017

Charlie Hunter: guitar; Kirk Knuffke: trumpet; Curtis Fowlkes: trombone; Bobby Previte: drums.

Charlie Hunter, a New York-based guitarist with a catchy sound and superior technique, has a new album whose long title, Everybody Has a Plan Until They Get Punched in the Mouth, was taken from a quote uttered by the heavyweight boxing champion Mike Tyson.
Hunter returns to the quartet format, adding the extraordinary trumpeter Kirk Knuffke to his regular bandmates - focused trombonist Curtis Fowlkes and exciting drummer Bobby Previte, who had partaken in his previous album, Let the Bells Ring On.

The title track invests in a persuasive jazzy bass groove, intuitive guitar chops, and well-calibrated drumming. The horn players, whenever not blowing in the same direction, fill the available spaces with tasteful detail. First solo of the recording was conceded to Fowlkes who didn’t disappoint.
“(Looks Like) Somebody Got Ahead Of Schedule On Their Medication”, doesn’t stand out only because of its super enigmatic title, but also for being slightly more abstract in its approach. Hunter shows off an engaging sound, establishing a fruitful connection with the reedists while Previte substantiates he's a true master in rock-style cross-cuts.

“Leave Him Lay” and “No Money, No Honey” are sketched with chunks of funk, blues, and rock. The former begins in the guise of an effulgent blues before shifting into a horn-driven extravaganza delivered at typical 4/4 tempo; the latter bursts with punchy rhythms occasionally disrupted to let the horns assume the command with authority.
The gently exotic “Latin For Travelers” does justice to its title, changing completely the mood and displaying the best solo of the record, splendidly conceived by Knuffke.

“Who Put You Behind The Wheel?” adopts the form of a cartoonish dance in which we find the bandleader smothering the sound of his strings. It reserves a surprising variation for the finale.
In turn, “(Wish I Was) Already Paid And On My Way Home” flows at a more relaxed pace than the brassy and reggae-ish “The Guys Get Shirts”, which inevitably takes the path of blues afterward.

Hunter shows all his polyvalence on guitar and forges a great album strongly rooted in the traditions of blues and rock. The quality of his arrangements is an asset.

Favorite Tracks:
02 – (Looks Like) Somebody Got Ahead Of Schedule On Their Medication ► 06 – Latin For Travelers ► 08 – Who Put You Behind The Wheel?

Snaggle - The Long Slog

November 14, 2016

Graeme Wallace: tenor sax; Max Forster: trumpet; Nick Maclean: Rhodes, organ, synth; Mike Murray: guitar; Doug Moore: bass; Tom Grosset: drums + Brownman Ali: trumpet.

The music of Snaggle, a fruitful sextet based in Toronto, translates into mature compositions and stupendous executions. The members of the band, virtuosos in their respective instruments, resort to a laudable sense of unity and superior taste to creatively orchestrate the nine pieces of The Long Slog, their sophomore feature album.

“Snaggle #7” brings us lots of fun through a riveting electro-jazz-funk that consistently alternates between smooth and powerful. In this track, the horn players showed improvisational acuity, and Mike Murray’s guitar sound was particularly appealing to my ears in its mixed hard-rock and jazz incursions.
“Sad Ritual” starts introspectively but doesn’t remain too long in that state. The initial wailing slides into an energetic rock where the super-active drummer, Tom Grosset, shows how he combines speed with accuracy.
Breezy and smooth modulations adorn “Tree Assassin”, which proudly distribute several catchy grooves outlined by organ, bass, and drums. This plot serves to support strong solos that never felt strained or misplaced.
“Theorum” is a thrilling, up-tempo tune that features the trumpet of Brownman Ali, an illustrious guest whose fluidity of language is remarkable. He found solid ground in the spunky, forceful movements of the rhythm section.

A penetrating wha-wha plays a crucial role in “SAW”, a mutant exercise that lives from surprising effects. Polished jazzy melodies blend with more aggressive bass lines inspired by Rage Against The Machine, while keyboardist Nick Maclean shows his gripping musicality.
Murray’s tuneful guitar, interplaying with Ali’s trumpet, is decisive to wrap “Lagaan” in a relaxing crossover jazz that slightly makes a turn in the direction of a danceable orgy of R&B and avant-jazz-funk. Here, the band members build up a crescendo, using their skills and expertise to deliver an overpowering finale.
The title track closes the album, leaving traces of rock, jazz and funk in the air.

The Long Slog inherited the same power and straightforwardness of Snaggle’s members who were capable of rendering a burnin’ hot fusion inclined to explore an infinity of possibilities within the same composition. In a certain moment they’re confronting Miles Davis with Medeski Martin & Wood; in the other, you may find the Red Hot Chili Peppers colliding with Incognito or Mahavishnu Orchestra.

Favorite Tracks:
01 – Snaggle #7 ► 07 – SAW ► 08 – Lagaan