Black Light Collective - Black Light Collective (2020) [Hi-Res]

Dave McMurray is one of Detroit's great musical shapeshifters. Since the 1970s, his playing, writing, and producing have embraced the plethora of genres and sounds that drive the Motor City's musical engine. His aesthetic, though deeply grounded in jazz, soul, and R&B, engages techno, rock, blues, and funk. Whether he's working with Gladys Knight or the Rolling Stones, Was (Not Was) or Bob Dylan, KEM or Iggy Pop, the quality and commitment are the same. His recordings paint the spectrum with an earthy tone, emotional honesty, and compositional sophistication -- without artifice. McMurray's Black Light Collective is a multi-generational band comprised of trombonist Kenneth Gill, trumpeter Allen Dennard, upright bassist Ibrahim Jones, keyboardist/pianist Maurice O'Neal, drummer Jeff Canady, and vocalists Isis Damil and Malik Alston. Rounding out the lineup are guitarist Adell "Showboat" Shavers, djembe player Sowande Keita, and longtime collaborators in keyboardist/pianist Luis Resto, trumpeter Rayse Biggs, and percussionist Larry Fratangelo.

This music was recorded mostly live from the floor at Resto's Feeder Studio in Detroit by Salar Ansari. Among its 11 tracks, two are choice covers: Max Roach's "Freedom Day" (from 1961's iconic civil rights oratorio We Insist!) and the Jazz Crusaders' "Freedom Sound" (the title track of a 1961 album). Together with McMurray's compositions, they sculpt a spiritually uplifting, sexy, socially conscious music that's enjoyable over headphones or on the dancefloor. Opener "Black Light" offers electronic ambience in introducing a funky upright bass and snare and hi-hat breaks. McMurray's soprano muscles the groove into overdrive. It's edgy jazz-funk adorned with deft piano comping, zigzagging synths, and an infectious melody. "Freedom Day" is a showcase for Damil; her strident Abbey Lincoln-inspired spiritual soul chops soar above the horns as the rhythm section builds to a crescendo, followed by meaty solos from percussion, reed, and brass. "Love Survival" is 21st century funky fusion with spiky synths, breaking snares, and muscular trumpet, trombone, and tenor solos. After a brief, abstracted piano intro, "We Are Assimilated" commences with dubwise horns as Alston recites a poignant poem. McMurray's syncopated flute digs hard into the changes, just before Alston begins mellifluously singing, backed by a chorus. The melody and rhythm unfold in a hypnotic groove led by McMurray's tenor persuasively coaxing vocalese from the singer. The arrangement on "Detroit Urban Radio" juxtaposes pulsing sequencers and harmonically expansive horns around drums and hand percussion, a punchy, resonant bass line, and shimmering brass. "In My World" is textured midtempo soul-jazz prodded by funky rim shots, lyrical electric piano, and soaring tenor saxophone. A noir-ish trumpet outro becomes the intro to the moody, bluesy closer, "2 Minute Prayer." Black Light Collective is an auspicious, inspiring debut. It not only reflects Detroit's wonderfully complex musical universe, it points squarely toward the future with unbridled swing and visionary creativity.