01st Feb2016

Bob Gluck ‘Infinite Spirit: Revisiting Music of the Mwandishi Band’ (FMR) 3/5

by ukvibe

bob-gluckThe inspiration for Infinite Spirit emerged from pianist Gluck’s conversations with band members whilst writing “You’ll Know When You Get There: Herbie Hancock and The Mwandishi Band”. Bringing together two key original band members; Billy Hart on drums and Eddie Henderson on trumpet, along with Christopher Dean Sullivan on bass, they join Gluck, who plays acoustic piano and electronics throughout the album, for what is a new exploration of a selection of Mwandishi tunes, rather than just a modern day take on what has been before. Herbie Hancock’s Mwandishi Band was an innovative and forward thinking jazz ensemble from the late 60’s, early 70’s, a band that perhaps in some circles was overlooked a little at the time, compared to other musical innovators of that time. In the spirit of the original music, the quartet perform new interpretations of Hancock’s “Sleeping Giant” and “You’ll Know When You Get There”, Maupin’s “Quasar” and “Water Torture”, Gluck’s “Sideways” and the Sullivan composition “Spirit Unleashed”.
It is indeed that searching spirit that inspires some great collaborative music throughout this album. Often conversational, questioning and textural, there are a plentitude of robust grooves and melodic lyricism on offer. Creative improvisations abound, with Gluck’s inventive piano playing and Henderson’s astute trumpet playing both being a high point throughout. The music evolves as it is performed, allowing all four musicians to play an important role in their own inimitable way. The album opens in pensive mood, with Billy Hart slowly but surely laying the foundation for “Sleeping Giant” to develop. Sprawling and spiralling acoustic piano blends beautifully with Henderson’s crisp, exploratory horn. Evident throughout the session is the reflective interplay and searching nature of the music. “You’ll Know When You Get There” is the perfect example of how tuned into each other these guys are as an acoustic quartet. It’s such a good sound. At this point however, I have to say I have a pretty serious gripe with the music I’m listening to. For me personally, I feel that the insertion of Gluck’s electronics actually detract from the music being performed, rather than adding to it. Don’t get me wrong, there are instances where it works well, as on the intro to “You’ll Know When You Get There”, which offers up a creative and rewarding piece of interplay between Hart’s excellent drumming and Gluck’s electronics. But overall, especially when layered over the top of the whole quartet, it just doesn’t work. I actually find it becomes tiresome and annoying. Many listeners may feel differently, and I for one love my twiddly bits in all forms of music, but I’m sorry to say that for me, on this album, the electronics do not do justice to the balance and warmth of the rest of the music, the resulting effect on my ears being to dub them as “twiddly bits”. Back to the positives though, as the band work their way through “Sideways/Quasar” which once again highlights Billy Hart’s incredibly sensitive and textural drumming, before the tune builds in strength with its graceful, luscious, improvisational feel. “Spirit Unleashed” is a new tune by bassist Sullivan that opens with a virtuosic bass solo, juxtaposed with Gluck’s electronic percolations. There’s a great pulse to this tune as the melody criss crosses with a diversity that’s sums up well just what this band are about. The album closes with “Water Torture”, with its catchy yet off-kilter melody allowing the soloists to stretch and discover new directions.

“Infinite Spirit” is a worthy and enjoyable revisiting of the music of the Mwandishi Band. It gives the listener plenty to contemplate, with its free spirited, excellent performances from all the musicians involved. Ultimately it will perhaps be of more interest to Mwandishi Band devotees, but in 2016 it could also act as a great introduction to the band’s music for new listeners. And depending on your point of view in regard to the electronics element of the album, it’s either a classic or annoyingly flawed… Why not have a listen and make up your own mind.

Mike Gates

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