Between his high-energy (and often higher-register) tenor, Ben Monder's guitar, Edward Simon's piano and the brass band behind them, there's certainly nothing to make you feel lethargic on M and Fat Cat, which open this. Declaration, more of a ballad, makes me think of the Branford Marsalis Quartet with brass, which is a compliment. Even it soars. Uppercut and Rock Me, as you would expect from the titles, romp like (but don't sound like) the first two tunes, although epic might be a better word than romp for M. Rock Me has an interesting fusion interlude, Monder shredding and Simon on electric organ. Late Night Gospel is the kind of tune that says last call.
The brass is generally used effectvely for accent and color rather than being overwhelming, a tribute to the deftness of the musicians behind those instruments (variously trumpets, flugelhorn and french horn, trombones and a tuba) and to the composer and arranger. All songs and arrangements are McCaslin's and it's nice to hear a collection of entirely new music. And interesting, intricate, sophisticated thoroughly 2000s jazz, albeit it with a firm grasp of the tradition, at that. Yes, I'm impressed.
I'd like to hear more, from tubist Marcus Rojas in particular.
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