FunkFreak75
The Norwegian NuJazz leaders are back with another album displaying the progression of their sound. The same rhythm patterns as used in 2015's excellent Starfire are this time enhanced by new, fresh sounds from both electronica as well as electronically treated voices and instruments.
1. "Tomita" (13:46) breathy, plaintive saxophone, electric piano, background synthesizer--this sounds like something from either Harold Budd's first collaboration with Brian Eno, Pavillion of Dreams, or one of WEATHER REPORT's classic 1970s albums. Eno/Ryuichi Sakamoto-like programmed percussion and synth horns enter in the fourth minute, eventually receding behind the emerging drum kit, electric bass, and electric guitar play of a lounge jazz combo. Soft, breathy horns and delicate electric guitar play continue into the seventh minute as a jazzy melody is built and embellished. Then, early in the eighth minute, all rhythm instruments cease while horns and guitars continue--kind of recreating the introductory soundscape--until 8:25 when the rhythmists return and the song reconnects with the melodic weave from earlier. All this is interrupted with a quite radical detour in the tenth minute to what sounds like a bridge but then becomes more like the drummer and bass player have gotten stuck in short time loop. Eventually they break the loop and emerge onto a landscape of colorful and joyous sunlight as multiple synths, guitars, and voices celebrate the alien sunset arrival, the end of the world, and the peaceful transition of all life forms to their simplified energetic sources. Nice. Very engaging main weave. (26.5/30)
2. "Spiral Era" (8:08) the rhythms are the same, purely Jaga Jazzist, but the melodies and spacey textures are different, catchy. (13.25/15)
3. "The Shrine" (9:06) opening with some gently, spaciously woven horns, drums and breathy bass instruments join in (I'm reminded of Markus Pajakkala's 2017 release, Brutiopianisti), gradually moving into a moderately-paced whole-band fabric. At the end of the fourth minute "large" horn section begins adding it's EARTH WIND AND FIRE- like wall of melodies and accents. Despite a few brief dream-like interludes between horn-dominated sections, this is the bulk of the song. Never thought I'd dis a JJ song, but this one does nothing for me. (15.5/20)
4. "Apex" (8:08) marginally outside the realm of disco, there is a very retro-1980s DEPECHE MODE/1970s DONNA SUMMER sound palette to this one. Too bad it lacks any interesting or even moderate development. (A key change in the third minute! The dropping out of all non-rhythm track instruments around the five-minute and seven- minute marks! A synthesizer solo in the bass end during the sixth minute! Some increased filler in the treble clef during the seventh minute!). (13/15)
Total Time 39:08
The music corresponding to the titles seem mismatched to me. I hear very little Tomita in the opening song. I hear very little Nigerian melody or rhythms in the supposed tribute to Fela Kuti, "The Shrine," and I get very little of a "symphony" feel from the overall feel and flow of the album.
B/four stars; a nice addition to any prog lover's music collection, though, in my opinion, not up to the standards of previous JJ releases.
