AFRICAN RHYTHMS AND BLUES

53-year old expat trombonist Lou Blackburn was living in Germany when he was wooed into trying to lead a band into adventuring in the new world of Jazz-Rock Fusion while, at the same time, celebrating the musical history and forms of Africa.

1. "Nairobi" (7:33) wah-wahed bass with drums and multiple percussion tracks creating an infectious groove over which trombonist Lou Blackburn solos. In the fourth minute trumpeter Charles Jefferson joins Lou for some harmonized horn banking before launching out on his own to dominate the fifth minute. Despite the electric bass, this song follows more of a traditional jazz form and sound. The play of the two soloists is solid but containing nothing to write home about whereas the bass and percussionists (and vocal leader) are pretty flashy. (13.5/15)

2. "Massai" (8:04) an okay song that feels more like an educational test for the band's unified syncopation and less of a dance or pop tune. (12.75/15)

3. "Holz" (4:23) Donald Coleman's bamboo flute plays over a slow, spacious weave of African percussion instruments. Nice for an African processional, not much else. (8.25/10)

4. "Kenia" (6:49) electric line sets up the African melody that the group chants with an African choir vocal until about 45-seconds in the band kicks into what sounds like it could be full Juju music but then it takes a few turns and feels more Caribbean or Santana-like as active bass, cowbell, congas, and Charles Jefferson's flugelhorn take us into the Carnival. Muted trumpet and trombone join together for a few coordinated bank bursts before a round of African chanting signals a turn toward full Santana-like Jazz-Rock Fusion for Lou to solo over. All throughout Gerald Luciano remains quite nimble in dancing over the fretboard of his electric bass and drummer Cephus McGirt as well on his rock-expanded kit throughout the song. The song finishes with a minute of all percussion (and some chanting) with Gerald's dancing electric bass. (13.25/15)

5. "Makishi" (2:36) bass, drums, and percussion (including clapping) provide a base for African call and response vocals. (4.375/5)

6. "Shango" (7:48) an African melody line is presented by Gerald's bass, within which Donald Coleman's congas and the two horn players weave their instruments. The musical weave smooths out so that the horn players can take turns soloing. The bass play takes the lead over the course of the song, really stepping into it in a jazzy Motown fashion, especially shining in the final two or three minutes. (13.5/15)

Total time: 37:15

The players are experienced and seasoned but the music of this first expedition is rather prosaic, more like simple jams based around traditional African rhythms and melodies from different regions and cultures of the continent. While Africa is trying to be celebrated here, it's really the electric bass, American brass, and variety of percussive instruments that should take the bows.

B/four stars; a very interesting if under-developed idea for musical project. I look forward to a little growth as I move forward from this band's debut.