This is the second album to be released by the drummer and composer and sounds as scientific and experimental as its title.

By bringing together Chris Speed (saxophone/clarinet), Kris Davis (piano) and Chris Tordini (bass), this album is filled with enthusiasm, energy and freedom that makes it and album that will thrill those who like their jazz a bit more out there and different.

While there is plenty of structure in place, it does sound as though it is more improvised with each performance demanding that you listen. This is where the problem with the album lies.

On tracks such as ‘Notester’ and ‘Transatlantic Transitions’ , the album becomes too frenzied and out of control that it is difficult to fully enjoy the performances. Each element of the track sounds separate from all the other parts which is why these tracks in particular are so demanding to listen to.

But that isn’t to say that Gray shouldn’t be applauded for taking a bold approach to the type of music that is constantly able to adapt itself to newer audiences. Tracks such as opening song ‘City Nothing City’ is perfectly controlled but still able to be playful and delicate – certainly a track that puts a smile on the face.

However, the music constantly leans towards the more quirky side that is fun to listen to but soon tends to sound all the same after a while. For instance tracks such as ‘Jungle Design’ start off with a laid back approach before developing into a more chaotic style that is completely different to the direction that I felt the music was going to take.

While some might say that’s great shows instinct and a willingness to adapt, I feel that after a while it gets slightly bewildering and overwhelming for my taste and it would be nice to hear a softer side to the performances.

So while I found it an interesting album to listen to I couldn’t help but feel that it wasn’t the right kind of music for me personally but for those who like their jazz on the impulsive side they should take a listen.

Gray RelativE ResonancE COVER


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