Label: Blue Note Records, 2021

Personnel - James Francies: piano, keyboards, vocals; Burniss Travis: bass; Jeremy Dutton: drums; Immanuel Wilkins: alto sax; Joel Ross: vibraphone; Mike Moreno: guitar; Bilal, Peyton, Elliot Skinner: vocals; DJ Dahi: drum programming; Francesca Dardani and Sulamit Gorski: violin; Marta Bagratuni: cello; Tia Allen: viola.

The Houston-born, New York-based pianist/composer James Francies has been earning critical acclaim not only backing the saxophonist Chris Potter in his Circuits Trio, the drummer Jaimeo Brown and the vibraphonist Stefon Harris but also conceptualizing his own project where he cuts deep on forward-thinking jazz and groove, meaningful message and a plethora of musical genres. The follow up to his debut full-length album Flight (Blue Note, 2018) is Purest Form, an eclectic set of compositions with many interesting paths to cross among a flux of style that feels both very tight and very loose, thoughtful and adventurous. Similarly to his previous outing, Francies summoned the groove-adept rhythm section of bassist Burniss Travis II and drummer Jeremy Dutton to shape most of his compositions. Yet, on good time, he enjoys the presences of guest artists such as vibraphonist Joel Ross, saxophonist Immanuel Wilkins and guitarist Mike Moreno, as well as several vocalists.

The nearly 2-minute opener, “Adoration”, sets the tone, featuring a poem written and narrated in Spanish by James’ wife, Brenda Francies, over slightly distorted soundscapes and religious chants. But it’s on the kinetic “Levitate” that the trio blooms in full force, pointing to rhythmic digressions and keen harmonic movements where a wide-ranging piano solo and laser-focused keyboard beams erupt.

Immersed in celestial poise and joyful emotion, “Transfiguration” is propelled by an exuberant trap beat and boosted by Wilkins’ burnished solo. The alto saxophonist excels on the irresistible odd-metered rendition of the standard “My Favorite Things”, here dressed in new clothes and including conversational lines bouncing back and forth between Francies and Ross. A transitional 4/4 vamp accommodating a sax-vibraphone ostinato leads to a danceable final section during which Moreno’s guitar is in the lead, adding colorful dimension.

“Where We Stand” is another highlight, showcasing the rhythmic virtuosity of Dutton who engages in skittering beat fluxes and colorful cymbal splashes. The improvisations are by Ross, who applies his cultivated technique in the interest of the tune’s spirit, and Francies, whose soloing capabilities comes to the fore.

The vocal tracks are diverse, with “Eyes Wide Shut” being my absolute favorite as it exposes a heavier texture when compared with other numbers. The riffing, rock-solid backing of the quartet (with Moreno on board) handles well the mix of poignancy and energy delivered by the alternative R&B singer Bilal. Eclecticism reigns, and if “Blown Away” chills you out via Peyton’s voice and a mellow boom trap beat, then the drum-less “Rose Water”, co-written with and featuring the contemporary vocalist Elliott Skinner, drives us into the pop music universe.

Francies is a force to be reckoned with, and if you seek other influences in jazz, this might be a project to invest your time in.