Here we have the explosive sounding first track released from Circuits by Chris Potter new on English jazz indie Edition in the latter part of February.
Sounds very jazz-rock, Eric Harland given free rein, groove the order of the day. And yet with a big sprinkling of glassy electronics fed in contributing to a highly customised sound full of episodic metrical changes, twists and turns but pretty full on (and certainly mastered away up on this track so striking even on this lo-fi Bandcamp audio version), the keyboards however sounding very organic.
Check especially underneath the bonnet what the still fairly unknown keyboardist James Francies despite a major label debut recently is doing on this track. His profile I guess will zoom ever higher this year as more people around the world get to hear of him if for no other reason than he is a new Pat Metheny “Side Eye” keyboardist as Metheny cultivates new sounds.
Potter played with Metheny in recent years in the Unity set-up when the guitarist brought the sax back into his sound and it is interesting how families of musicians develop often circles within circles, their past experiences morphing into new spheres as they play on and on.
Potter here, note the credits on the Bandcamp page, overall on the album switches between tenor and soprano saxes, clarinets, flutes, uses a sampler, guitars, keyboards, and percussion so you can imagine how much production went into this album which was recorded in September 2017.
As for Francies well just think the excitement of Robert Glasper when he was unknown for a moment and then lift off into a new orbit (the comparison is even more striking on Francies’ Blue Note debut). Circuits on less than half of the tracks also credits the highly mobile bass guitarist Linley Marthe you may recall from the Zhenya Strigalev record Blues For Maggie.