Second recording from well acclaimed Austro-German formation led by bassist Lukas Kranzelbinder, the groove pillar of Mario Rom’s Interzone Trio, took the world by storm, just like their debut The Golden Fang. Immaculately vivid septet with doubled rhythm section and a brass trio grown as on yeasts from igniting festival commission to the Star Band serving fully sold shows wherever they set foot.
What put the band in the spotlight from the very beginning was an incredible hypnotic mixture of the jazz grooves, mixed with afro-beat ad folk which seems to energise needs of todays urban nomads. With an incredible drive supplied by doubled rhythm section the band just rides over the audience’s heads. Additionally, arranges written by leader for the brass are riding fast underlined but the burning sections forces. There are speed, charm and constant virtuosity – ingredients which must spice the dish just right.
An opening Dancing in the Cage of Soul is just like that. The melody puts the spell over your head when your feet are already part of the roller-coaster.
He merges energetically just perfect with the Shake Stew’s outcome and it is an immediate click on. His composition called How We See Things is based on African polyphonic rhythm, reminding Malian origins with the brass lines written to die for. Especially Rom’s lines for trumpet are charming and possessing incredible power.
Goodbye Johnny Staccato, vigorous piece driven by extraordinary saxes dialogue flying over bluesy bass walk and repetitive rhythm drags listener from joyful reflection to ecstatic lament. There is something incredibly elegant in the way that arrangements are made and the tune moves from hysteric cannonade to the poetic spin to end up with a New Orleans alike marching climax and killing drums outro, when you started to believe that nothing there can surprise you more.
Fall Downs Seven Times with Mario’s deeply touching intro brings me feelings of Interzone, especially when backed up by the bass lines, but these are the same musicians at the end of the day so it should not surprise. His phrasing, especially with his trademark over-blowing clearly set up the mood and execute composition to the very bottom. It is a one man show.
Get up Eight is another one of the two played as Octet. Again, very Afro-beat influenced with both rhythm and reminiscences to poly-rhythmic African tradition with brass arrangements re-referring to choir tribal traditions. It is very floating and shiny piece without a trace of heaviness which firmed Schabaka’s own tune.
Closing No Sleep my King is more lurking with constant presence of the bass riff , drum-sets shimmering in the background and single brass voices joining the path and coming into unison in melodic choruses. Very cheering tune with an incredible hypnotic power and grip despite of being played slow tempo and mostly piano.
So, the six tunes only but all together leaving a storm in the head and with rich emotional approach and in the same time dance. Storm for refreshing however, not for the hungover and certainly a need for more.