In 2018, Aaron Parks jump started some forward-thinking ideas he advanced ten years earlier, and scarcely a year and a half later, he keeps the newfound momentum going with another expansive album.
Little Big II: Dreams of a Mechanical Man is a relatively rapid follow-up to this keyboardist and composer’s bodacious Little Big, where he introduced his ‘Little Big’ electric quartet featuring guitarist Greg Tuohey, bassist David “DJ” Ginyard, and drummer Tommy Crane. The band’s been playing together in front of audiences for a couple of years, now, and that mean less thinking and more trusting of instincts. It’s that distinction that enables the band to bring more to Parks’ compositions, with a little less predictability than before.
Moreover, the band is even composing together in a couple of places. On the groove-laden group improv “Is Anything Okay?”, the rhythm section is doing fantastic work; Crane’s metes out assertive beats and Ginyard place fat bass blobs around it. The two are also the stars on the other band jam “Where Now?”.
But on the other selections — where Aaron Parks did the composing beforehand — ‘Little Big’ has mastered the tricky art of making several genres sound of a single, new one. The groove-minded drums and the synth buzz that launches “Attention, Earthlings” suggest something that’s far away from any jazz influence but it’s grounded by Parks’ piano, which steps forward in a crisp solo whilst Tuohey’s guitar whines in angst behind him. Already, there’s ambiguity about which camp this music falls under, but whatever it is, it feels whole.
Bringing back Chris Taylor to co-produce the album meant the creation of this project would be guided in part be someone with an indie rock mentality. That means making this album listenable to non-jazz ears and it shows up all over. On “Here,” Parks constructs a comely melody that’s somber and not lacking in depth. Doubling the piano lead lines with guitar, a common tactic on this record, points up to the singable aspect of it. Melody takes the foremost focus for “Solace” as well; Parks delivers a pretty intro unaccompanied on piano and presents another attractive motif with the full band sympathetically bolstering the essence of the song.
Some songs lull you into thinking they are easier to figure out than they really are, making each additional listen a fresh experience. “Dreams of a Mechanical Man” is unassuming on the surface but rich with subtle touches, from the overdubbed percussion section to not one but two dreamy bridges that open up out of nowhere, the last one providing resolution at the end. Just as in the title tune, “The Ongoing Pulse Of Isness” is more complex than it seems. Effortlessly riding on 9/4 time and eases its way into sophisticated changes almost imperceptibly, because it maintains a warm vibe consistently throughout. “Friendo” is punchy groove with Tuohey and his fuzzy, Kurt Rosenwinkel guitar tone instilling an extra edge. Just when things seem settled, out of nowhere comes Parks with a squiggly single-note synth aside.
Aaron Parks has both the songwriting and playing chops to make a solid jazz record whenever he wants to. Instead, he went beyond that realm to make a solid ‘Little Big’ album. Greater in its ambition, this a higher achievement that he’s done three times to date.
Little Big II: Dreams of a Mechanical Man is now out, via Ropeadope Records.
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