Liberation Prophecy - Invisible House (2013)

Review:
Liberation Prophecy, Louisville, Kentucky’s indie jazz ambassadors have finally returned with a second album, Invisible House, and the news is all good. Saxophonist/composer Jacob Duncan’s astonishing ensemble has seen group members come and go since the band’s auspicious 2006 debut, Last Exit Angel, but the octet has congealed into a facile, intuitive unit that’s long on virtuosity and musical empathy. This time out, Duncan’s inspirations include Carla Bley, Tin Pan Alley songsmiths and even the Rolling Stones, and as always there’s a rare depth of expression—musically, lyrically, and spiritually. Composer Duncan’s collaborations with lyricists Will Oldham, Joe Manning, and Greta Smith are all unqualified successes. “You can hold music too tight, and I realized I needed to let go a little and not hold it so close to my chest,” Duncan admits. “So I got together with three songwriters who I respect as part of that letting-go process...it was beautiful and fascinating.”
Imminently listenable and inviting, yet never less than adventurous, Invisible House is a new direction for Duncan and Liberation Prophecy; compared to its predecessor, it’s less avant-garde and more song-oriented, personal and accessible. Guitarist Craig Wagner and trombonist Chris Fortner are band veterans, and they’re joined by bassist Chris Fitzgerald, drummer Michael Hyman, trumpeter Kris Eans and Steve Goode on tenor and bass clarinet. New singer Carly Johnson is a revelation—versatile, tuneful, and with an emotional range that floats from first-person intimate to brassy belting with the greatest of ease. “I think the whole of Invisible House is about the idea that you are where you are, the idea of being; not so much emphasis on what I’m doing, and more on how I’m being, you know?” Duncan suggests with a quiet laugh. Liberation Prophecy’s Invisible House is waiting for you—the key’s in the mailbox. Come on in.