James Brandon Lewis is a talented, forceful saxophonist and composer who puts a great deal of ambition into every project he leads. He’s dedicated his latest “to Charlie Haden & Ornette Coleman and Surrealism” that in looking back to these fearless pioneers of jazz, Lewis emphasizes his own flair for pushing forward. An UnRuly Manifesto (available February 1 2019 via Relative Pitch) summons those ghosts to inspire him to think differently about his art, and succeeded in making a record that elevates above all the music forms it references.
Lewis studied with Haden back when he was attending CalArts, and Coleman has already left an indelible mark on his music (such as the free-funk influences found in his Days of Freeman LP that featured Prime Time bassist Jamaaladeen Tacuma), so these tributes come as no surprise. An UnRuly Manifesto, though, marks the first time Lewis favoring continuation in the lineup of his backing band. The James Brandon Lewis Trio that played on 2016’s No Filter is retained and augmented by two more players: added to the Luke Stewart/Warren ‘Trae’ Crudup III rhythm section is guitarist Anthony Pirog — who guested on No Filter — and Chicago’s latest trumpet sensation, Jaimie Branch.
After a brief intro called “Year 59: Insurgent Imagination,” the titular song “An UnRuly Manifesto” progresses at an unhurried pace. As its simple repeating figure gathers steam mainly thanks to the increasingly boisterous drums of Crudup, it takes on a deep Coltranian presence, underscored by Lewis’ imposing tenor sax pleadings. Branch serves as a perfect foil, her articulations are emotional but measured. Later, both mix it up together in complementary ways and wind down, forging a third highlight for this extended performance.
JB-tight funk shows up on “Sir Real Denard” but Lewis’ sax has Ornette on the brain while Stewart lays down a rubbery/spacey helping of bass and Pirog responds by going even further out with the aid of crazy effects. Not to be outdone, Branch gets wiggy with no electronic aid needed. It’s a fine salute to Prime Time but in its own, hard-hitting style. “The Eleventh Hour” is another slowly simmering cyclical figure, keynoted by Branch’s chop-heavy asides, calling up the ghost of Freddie Hubbard. Lewis’ own feature shows off his richly soulful side.
“Escape Nostalgic Prisons,” though, is Lewis’ most overt salute to Ornette and despite the non-stop fracas, there’s still a perceptible connection between his sax and Branch’s trumpet. That’s followed by the move overt salute to Haden, “Haden Is Beauty,” anchored by Stewart on acoustic bass, and a lovely theme rendered by the front line that Lewis’ old mentor most likely would have appreciated. Meanwhile, Crudup and Stewart proceed at their own quicker pace, infusing an undercurrent of energy to the poetic motif that ultimately overwhelms the song.
As for the dedication to surrealism? Surrealism is defined in Webster’s as “the principles, ideals, or practice of producing fantastic or incongruous imagery or effects in art, literature, film, or theater by means of unnatural or irrational juxtapositions and combinations.” That’s found in the whole of An UnRuly Manifesto, the overall guiding principle that makes it a very inventive album from beginning to end.
Pre-order An UnRuly Manifesto here.
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