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For this concise (total time is ) yet impactful body of work he relies on many of the bandmates who helped him to conceive , namely, trombonist Ryan Porter, pianist Cameron Graves, keyboardist Brandon Coleman, acoustic bassist Miles Mosley, electric bassist Thundercat, and drummers Ronald Bruner Jr. Trumpeter Dontae Winslow is the new addition here, replacing Igmar Thomas, while leading vocalist Patrice Quinn joins the influential choir that enriches “”, set as an ambient soul-jazz trance with chill-out harmonies and cool solos, this piece is expanded with additional sonic layers that include an 8-piece string section, guitar, vibraphone, flute, an extra sax (alto), and stately vocals.Embracing a fully-fledged symphonic poise, the tune revolves around the melody at first but speeds up conveniently for Kamasi’s solo, favourably challenged by guitarist Matt Haze’s pretty annotations and Graves’ responsive and diametrically opposed harmonic layouts.
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When Dave Holland and Jack De Johnette finally enter for the last quarter of this performance they transform , and although initially commencing with unaccompanied oud this already feels taut.
There’s a harder pluck/more ‘guitar’ gut (it isn’t, but I’m talking impressions).
It’s the first time Mr Brahem has involved a bass and drum team on one of his recordings (Palle Danielsson and Jon Christensen were featured on represents an object lesson in what constitutes a sublime line into the art of drum/bass eloquence.
In reality Anouar Brahem has started all over again.
An unusual statement to make when you consider this is now his eleventh album for ECM.