10³²K - The Law of Vibration (2018) FLAC

Although it is alluded to only in Kabir Sehgal's informative liner notes, the first four numbers on composer / arranger David Caffey's new CD comprise the All in One Suite, a musical salute to the social, cultural and ethnic diversity that has forever been a hallmark of American society as well as to the frame of mind that epitomizes its unique and enviable heritage and entreaty to "give us your tired, your poor." The suite is meant also to serve as a counsel that the recent anti-immigrant sentiment embraced by many Americans is not in their best interest.

Admirable as the suite is, the second half of the album is even more enticing, consisting as it does of four exemplary themes by Caffey undergirded by a number of emphatic solos including star turns by split-lead trumpeters Brad Goode and Greg Gisbert and superlative unison work by the brass and saxophone sections on the fast-moving "Shawtime"" (based on the chord changes of the late Woody Shaw's classic "Moontrane"). Guitarist Steve Kovalcheck and drummer Jim White also solo tastefully on "Shawtime," which, even though arguably the album's apogee, is only a wee step ahead of the robust and dazzling "Carnival Night," picturesque "Diversions" and especially the broad-shouldered finale, "Come on In Tenors," showcasing the laudable talents of Kenyon Brenner and Peter Sommer along with drummer White. Sommer and Gisbert are outstanding on "Carnival Night" (ably supported by White, percussionist Michael Truesdell and marimbaists Mike van Wirt and Michael Carp), pianist Dana Landry and soprano Wil Swindler likewise on "Diversions."

Lacy's talent as a composer stands out on his two contributions; the opening "1000 Years of Peace" is full of semi-familiar passages linked by spirited improvisations across the group. The trombonist's "All the While...Forgiveness" could be described as stately were it not for Drury's swift and expressively complex playing. He serves as the bridge to the second half where the tune takes a blissful turn. Ray's beautifully played bowed bass, and Drury—on what sounds like woodblocks and cowbells—mournfully begin former Air trio bassist Fred Hopkins' "RB"; the mood unchanging when Lacy's custom-built trumpet joins in. But Lacy finishes up the piece with something comparable to an avant-garde version of a New Orleans funeral march. Rudd's "Yankee No-How" is the freest of pieces with Ray again shining on his solo.

The Law of Vibration is an exceptionally enjoyable listen. Rolling melodies, spiked with insistent percussion and warm brass tones, work in tandem with highly creative improvising. The album is an excellent showcase for these three distinctively talented and adventurous artists, and quite different in comparison to their debut. Little escapes scrutiny in the compact and challenging trio format. When the typical instrumentation is abandoned the safety net is gone, nothing is predictable, and that is the case with 10³²K.