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An UnRuly Manifesto

by James Brandon Lewis

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    The first track, "Year 59 Insurgent Imagination", really just an intro, begins the album with an appeggiated figure from the guitar and a slow melody from the two horns, it then settles into a deep ostinato, with a repetitive chord pattern and moving bass line on the title track. Branch delivers the first salvo here, a tuneful introduction of the melody, to which Lewis then replies. However, the restraint is palpable, and the first bit of tension is released when Lewis and Branch deliver a tandem melody. Finally, Lewis is let go. He begins building a ever fiercer solo statement over the rumble of Crudup's drumming and Stewart's bass. The 10 minute track is reminiscent of the modal 'spiritual' jazz, and is a wonderful gateway into the music of An UnRuly Manifesto.
    Following this is another short introductory track, "Pillar 1 A Joyful Acceptance", a melodically soothing ride on the Love Boat for a few seconds before "Sir Real Denard"'s. tight funk groove. Stewart gives an abstract electric bass solo, tweaked with effects, that segues into a sensory guitar solo, then into a squishy trumpet passage. However, the whole time the action is with the drummer whose taught pulse and precise hits and rolls, is in ... umm ... harmolodicism with the others. "The Eleventh Hour", a slow burner, provides, at first at least, some relief from the intensity of the previous track. However, by mid-point, concentric guitar and bass riffs, raise the pressure quite a bit, pushing and pulling and playing with dynamics, and giving Lewis the space to stretch out with one of his earthy, funky, and simultaneously out there excursions. Later, "Escape Nostalgic Prisons" is a fierce freely improvised piece where the group goes for broke, but something in the interactions still keeps it grounded. - Paul Acquaro
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credits

released February 1, 2019

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Relative Pitch Records New York, New York

NYC-based independent record label specializing in avant-garde, free jazz, free improvisation, experimental.

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