Bassist Joan Torres is leader of All Is Fused, who first performed at the legendary Nuyorican Cafe in Old San Juan, Puerto Rico. Now based in San Francisco, Joan and All Is Fused are set to release their fourth album Revolution on April 21.
“When I set out to start All Is Fused, I thought of a possible trajectory for our sound,” Torres says. “I knew enough about my favorite artists to know that it was unlikely our sound would be fully developed by our first album. I started planning our Phase 1 – the road it would take us to get closer to that sound. I believe Revolution to be the culmination of said Phase 1.”
There are nine tracks, each composed by Joan Torres, which create a blend of jazz, soul, funk and a whole lot of instrumentals.
“Rebellion” sets the tone on Revolution: It’s up-beat, bass driven and intrinsically busy, with a lot going on at every level. The percussion is relentless, yet not invasive as the guitar arcs and sweeps across the rhythms and cadences led into by the electronics. There is an engaging section, with a change in patterns both of tempo and rhythm. The delicious sax squeezes every last breath from Jonathan Suazo. “High Stakes” is introduced by Fernando Garcia’ drums, Torres’ bass then Emanuel Rivera’s piano and saxophone. The percussion sets out little tasters of rhythm, before Suazo’s sax and guitar work by Gabriel Vicéns and Sergio González pick it up and take turns in savoring it. Swiftly changing from gentle decorum to loud abandonment towards the final descent, this track is intriguing and engaging.
“Moving Mountain” is a highlight. A thankfully long track, at 11 minutes plus a tiny bit, it’s introduced by a strung rhythm bass, signaling a freer and more emotive casting of the musical die. This develops into a storming solo, and reversion to the rhythm underpinned by slides. Half the entire track is a demonstration of how one simple rhythmic pattern can be played so many ways, with so much emotion; it is gorgeous, clever and intoxicating. At precisely the halfway point, the electronic bass changes the essences and the track becomes more textured, no longer a solo but the wonder of the first half takes you through to the finish. It’s a bonkers idea, but it works and shows how creativity at this level is so effective. “Ambivalence” is gentler, easy on the ears, especially the gloriously explorative piano solo on which any semblance of restraint is almost lost at the end. Wonderful.
“Loss” is careful in the beginning, tentative in the middle section and incorporates an extended guitar-led section which builds on the structure underneath, which is provided by a string quintet. By the end of the track, everyone is pitched in, supporting and together before the drop away to sax solo at the end. “Barriers” is a sax-led progressive jazz track on which Joan Torres’ bass and sax prove masterful leaders. The addition of a trumpet solo from Julius Melendez cuts like a glass-knife through the gentleness. That’s then transited by the guitar, developed and handed to the rest of the band as a completed and now fully developed arrangement.
“Aftermath” is a statement initially with off-tracking rhythms, largely created by guest Paoli Mejías of Santana fame, and pitted against each other. It soon develops into a Latin-infused gem of a number, however, topped off by a delightful sax solo from Jonathan Suazo. If “Aftermath” is somewhat predicable after its enticing opening, this mitigates things in full. Even after the sax has handed back the theme to the musicians, you can still hear its little quirky input right to the last note. Cheeky and lovely.
“Finale,” is a fine last track (except it really isn’t), and it continues to prove that All Is Fused are as pint-point accurate and tight as moleskin but not as soft. Highlights include solos from keys, sax, guitar and percussion. The LP actually ends with the bonus track “True (Revamp)” which is a rhythm-laden upbeat number, perfectly suited to ending Revolution. The track indicates a shift in position for Joan Torres, as he opts for different bass styles by veering away from his Fender-driven leads – something it is hoped he does more of.
Closely tracked arrangements and tight-as-a-coffin-lid playing styles make this one for the jazz-ears, if not no much for the free stylers. Joan Torres’ Revolution is great music though, and an enjoyable listen.
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