The Bandwagon's Nasheet son-of-Freddie Waits superb on 'Drunkard's Lullaby' where the Branford bass matador Eric Revis (Tarbaby) is effortlessly elastic and then Jeff Parker desperate to force out a blistering spurt of energy seizes the day. That track comes well into the sequence of tunes on this 2016 recording. Earlier Revis produces quite an étude at the beginning of 'Between Nothingness and Infinity' almost Bachian and I'm thinking the way Greg Cohen used to play sometimes with Ornette in terms of atmosphere achieved if not means used and then Parker comes in summoning a sort of an Andalusian mood. 'That Eastside Romp' reveals Waits again key and as regular marlbank readers know everything in jazz comes from the drums. What Waits does here is to chop, chop, chop - dividing up the beat which then Parker and Revis further subdivide. Eventually the whole thing overlaps slicing via three separate rhythmic silos that the different accentuated lines and group interaction smash out off to blend beyond the sweet and sourness of tonalities into the pulsar domain. That's one way to make a piece head bobbing - you know when you see a sea of bods at gigs just out of it gently heading-the-invisible-ball all the time and it doesn't matter how and why they do it because what they are hearing connects and is deeply and mystically meaningful. That happens on this track - a phenomenon even among A listers of the calibre of these three icons - that is as rare as snow in San Anselmo.
Eric Revis, left, Jeff Parker, Nasheet Waits, centre, Parker, Revis Photo: press