The Daniel Bennett Group’s The Mystery at Clown Castle, set for release on February 5, 2015, is an album that deserves a listen — or many. It left me wanting to play it again and again.
The Mystery at Clown Castle begins with the wonderful “The Clown Chemist,” a lively number incorporating soloes from sax and piccolo. A playful, folky theme establishes this album’s light-hearted mood. “The Spinning Top Stood Still” uses the whole band, backing some impressive Coltrane-esque sax playing from Daniel Bennett. “Paul Platypus” is a rocky, sassy number with a great electric guitar solo from Nat Janoff in the middle section.
“Minor Leaguer” uses distinctive spoken words from poet Britt Melewski over a rock-styled backing, giving every band member a chance to shine. The drums and vocals interweave to emphasize the sad story. “Nine Piglets” is a light-hearted number, encompassing beautiful flute playing carrying the theme and some great guitar playing. The following “Strange Jim and the Zebra” is a rolling, easy number to listen to. “Morning” once again showcases the vocal talents of Britt Melewski over the band, which plays a calypso-ish beat backing.
“Inside the Outside Interlude” is simply wonderful. Guest Jason Yeager, a New York-based pianist who leads his own trio, joins the band and introduces a free style of playing — interacting with bass and sax, making the almost perfect interlude in which to take a breather. The piano dances and tinkles down the scales and the sax and bass react. Magic. “Flow” is a delightful flute-led piece which paves the way for “Uncle Muskrat,” once again featuring Jason Yeager — but this time is a heaver, more be-bop jazz number. Sax and piano interact beautifully on this track.
The Mystery at Clown Castle finishes with “Outside the Inside Outro,” which features bass, sax and the piano of Jason Yeager again. There is spiritual communication here between the players, some banging, crashing, some twanging, some truly inspirational sax playing and at the end of the track the listener wants just one thing — more.
Daniel Bennett is a player I have been noticing a lot lately and The Mystery at Clown Castle proves he is developing exponentially. His style has moved on since his last album, and he has that slight raspy, looseness to his playing which is inherently engaging. No riff is played the same way twice, no matter how many time it re-emerges in a number — and he makes a flute into a definitive jazz solo instrument.
He knows how to develop a theme and how far to take it. The Mystery at Clown Castle feels a lot stronger and braver than the last album from the group, as Bennett begins to establish himself as a true bandleader. The pairing of Bennett and Yeager, along with the backing of the bass of Eddy Khaimovich and the drums of Matthew Feich, is both timely and divinely inspired.
This album is a door opening moment for Daniel Bennett. He is playing with so much more freedom, emotion and commitment. Comparisons should not really be made, but if you were to compare The Mystery at Clown Castle with the last — and that was good — well, there is no comparison. This is different and simply wonderful, wonderful, three times wonderful jazz music.
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