Flow is the indeed the right word.
The opening suite piece, "Ancestral Stroll", a tune that conjures Sun Ra by way of Eddi Palmieri, segues into the boppish "Motivation." On the first tune we're treated to some playful and inspired unison soloing by saxophonist Richard Howell and guest trombonist Steve Turre. Howell and Turre are at it again during "Motivation", taking separate turns this time around.
The next sweep of tunes that seem to draw on each other: "Invocation" (all percussion) followed by "Inconspicuous" (beginning as percussion before taking on a modal flair with Glen Pearson's expansive piano chords) to "Suite Unseen: The Unseen" (which boosts a twisty melody with kit work and percussion that would be very much at home on a Hugh Masekela record) to the jazzified "Fire and Rain" ... the chanted conclusion of which links to "Suite Unseen: Spirit of the Wood", a percussion/chant featuring Steve Turre's famous and soulful conch shells racing around some very textural bala fon and kalimba.
(As you can see (and hopefully will hear), Lea's concept of an unlinked suite has paid off nicely.)
"Chants From Home" begins with Lea's chant which becomes the traditional "Sometimes I Feel Like A Motherless Child." This seems to introduce the final phase of the album, which peaks with "Suite Unseen: Summoner of the Ghost". Here, there is a convergence of past and present, swing and funk, change and melody. All music should aspire to this level of passion.
By now you may be wondering why I've made almost no mention of Lea's drumkit work. That's because it's there to serve the music. Unlike other records 'lead' by the drummer, Suite Unseen is all about the composition. Lea is no doubt a masterful drummer (and the inclusion of congas in his kit does open things up texturally)...but his compositions are what's important.
Suite Unseen is certainly entertaining, but it's far more than that.
Article comments