"New Birth" is a pervasive, cinematic experience of Jazz-Fusion-Funk soundscapes and syncopations that transcend the expectations of even the most die-hard Jazz/Fusion/Funk fanatic.
If the Knucks' 2012 debut "As of Lately" was a funkfied fortress of finger-lickin' Funk-jazz, and their sophomore (2014) release "Meta-Musica" an equally-exciting sampling of what is humanly possible delving deep into Jazz-Fusion waters, their third and latest project "New Birth" (released late 2016) is perhaps their most soulful effort yet - a deeper, thoughtful excursion into the percussive and melodic textures that are by now quintessential Knuckles. "New Birth" is a pervasive, cinematic experience of Jazz-Fusion-Funk soundscapes and syncopations that transcend the expectations of even the most die-hard Jazz/Fusion/Funk fanatic. And that will hold true no matter where your preferences lie in this genre-continuum.
As with their first two releases, each track laid down by The Funky Knuckles on this recording is completely unique and sounds nothing like other tracks in the album. And as with the other albums, many tracks have two or three distinct song structures stitched together so seamlessly that it's hard not to be awed by this band's seemingly-endless creativity. "New Birth" is no different - this 11-track album packs many a one-two punch within each song, and is more akin to a compilation of 20+ songs from lesser mortals.
Every Knuckles song has a story to tell, ably told by these storytellers who are far younger in years than the maturity of their music might suggest. The arrangements weave together so cohesively that no one musician or instrument dominates any given song; each track proves to be equal-opportunity goodness. Caleb Sean McCampbell's keys provide a lush underpinning for Evan Weiss's melodic trumpet, Ben Bohorquez's soulful sax and Phill Aelony's magical guitar work. Cedric Moore brings his now-trademark mix of controlled-explosive mix of drumming excellence, interspersed with Frank Moka's multivariate percussion. Through it all, bassist-extraordinaire Wes Stephenson ably holds down the low end with incredible finesse combining melody and syncopation.
But what may perhaps make this album most memorable is McCampbell's uncanny ability to weave vocal overlays in to his exquisite keyboard solos, occasionally with vocoder effects, something we didn't quite see in the first two Knuckles albums. This comes in to full display on the title track (New Birth - track 7), perhaps the defining segment of this album. An explosive fusion track with delectable time signatures, this track is more orchestral performance and less "song", reminiscent in some ways (to this writer) of Metheny's hallmark tunes with Lyle Mays. Besides McCampbell's vocals and keys, the song also features a beautiful, melodic bass solo by Stephenson, and a frenetic percussive display by Moore and Moka.
Other standout tracks on this album include "Captain Sandals" (with horn work evoking memories of "Summertime"); another McCampbell-vocoder-infused gem "Me Too"; the fast-paced "Moorish" that may leave you breathless; and the final track "Arise" featuring some truly soulful guitar work by Aelony.
In summary: Another memorable release by this Dallas-based Jazz-Funk-Fusion septet, who count among their ardent fans such luminaries as Anita Baker and Lenny White. One can see why.
- JAKES SRINIVASAN
Founder, WOBEON
