In 2022,
the Bad Plus
revealed a new, pianoless lineup on their second homonymous album. Joining bassist composer
Reid Anderson
and drummer
Dave King
were saxophonist
Chris Speed
and guitarist
Ben Monder
. The record was speculative, compelling, and just a tad uneven; the quartet never tried to hide that they were still learning to create as a unit. Subsequently, 18 months of touring tightened them up and expanded their musical palette. The recorded evidence of their newfound maturity is revealed abundantly on
Complex Emotions
from Detroit's
Mack Avenue
, the band's second to feature this lineup. Together they've birthed a 21st century approach to electric jazz that skirts the lines between it, indie, and prog rock, with an atmospheric ambience, sophisticated interplay, and canny improvisation. Furthermore,
Anderson
and
King
have added synthesizers to their instrument rosters.
While the original duo composed the lion's share of the music, the newcomers contribute a tune apiece. Opener "Grid/Ocean" commences as a somber yet lyrical processional with warm, watery electric guitar from
Monder
as
Speed
carries the melody.
not only supply elastic, ever-changing rhythms, they also inject atmosphere into the mix. Toward the center,
solos slowly through a fog of reverb. When he finishes, the melody shifts along with
, who layer airy synths to their increasingly propulsive time-keeping, laying the ground for
's gorgeous solo as the swirling textures result in a crescendo. "French Horns," despite being knotty, is introduced by the saxophonist and guitarist atop the rhythm section's aggressive accompaniment with an irresistible hook in the final section.
's "Casa Ben" is introduced by a rich, woody bassline as
flow in behind, offering melody and chorus even as they extrapolate on the harmony. For decades,
has been a dedicated vanguardist, but you'd never know it here. His inside game is as savvy as his avant one.
, one of the most diverse guitarists on the scene, recently released the triple-length
Planetarium
after being inspired by experiences from his work with
David Bowie
on
Blackstar
, as well as
Maria Schneider
's
Data Lords
. His dark psychedelic technique is displayed amply on his composition and set closer "Li Po."
's "Carrier" sounds like three overlapping compositions in separate modes played simultaneously. It's somewhat languid, yet it's quite busy on account of
's breaks and accents.
's "Cupcakes One" is the closest thing to conventional fusion, but remains outside it thanks to
's junglist drumming.
pushes his bandmates hard, shifting dynamics and textures while keeping a fluid backbeat.
's hyperdriven solo bridges the euphoric lyricism of
Pat Metheny
with the grit and grease of
John Scofield
.
's "Tyrone's Flamingo" messes about with syncopated rhythms that crisscross tango, Latin jazz, rock, and post-bop, while his bandmates offer knotty yet pillowy interplay with drums central in the mix.
is a fitting title for
TBP
's 16th album; it's provocative, emotionally expressionistic, and, at times, musically profound. ~ Thom Jurek