Pete Levin has been around performing and recording music
along as a sought-after musician by recording both in the Jazz and Pop world
from Paul Simon, The Brubeck Brothers, Jaco Pastorius, Charles Mingus, Annie
Lennox, Judy Collins, and the late great Miles Davis. This year, he’s released
his ninth studio album entitled, Möbius. The album was recorded live in
the studio for two days as Pete captures the spirit and essence of Gil Evans.
Now I
first became aware of Pete Levin after he and his younger brother Tony did the Levin Brothers album which was released three
years ago on the Lazy Bones Recordings label and I was completely blown away
how much the two brothers work well together not just as band members, but as a
family by working one-on-one. Now with Möbius,
Pete wrote eight original compositions and there are two covers which
include one by Thelonious Monk and Tony Williams.
Not
only Pete and Tony Levin are on the album, but it’s almost the who’s who that
are on the album. You have guitarists Jeff Ciampa an Kal David (John Mayall),
drummers Lenny White (Chick Corea) and Jerry Marotta (Peter Gabriel, Hall &
Oates, and Security Project), Erik Lawrence on Baritone Sax, Alex Foster on
Tenor & Sorpano Sax, and Chris Pasin on Trumpet to name a few.
What
Pete does on here, is to take his keyboards into unbelievable territories.
Levin’s music is like walking on a different triangular section of the Rubik’s
cube and it’s almost a trip to see where he, Tony and his band members go into
those various sections of the doors that are ready to be opened with six
highlights on here that are enduring and mind-blowing.
The
opener, Promises begins with the
Electric Piano going into a stereophonic mode going left and right then getting
into the styles of Herbie Hancock’s Headhunters-era
meets Steely Dan’s Aja-era. The horn
and sax section go into a workout mode plus some funk-rock rhythm guitars while
Tony Levin channels a different perspective of the riff on Chameleon.
Pete
then goes into the Rhodes city laying down some improvisational sun rising
textures that makes it an excellent piece to start things off. Before the take
of Monk’s I Mean You, Pete wishes
Thelonious a happy 100th birthday and gives him his regard and
saying “Hi!” to Gil for him. There is this walking dance mid-beat tempo between
the Clavinet and the Electric Keyboard before the Horns and Guitar do a melody
that rises up and down.
Tony
then walks fast as the sax’s do a solo improvisation to give Monk the
appreciation he deserves. When you listen to I’m Falling, at first you think it sounds like a film score that
this almost a nod to the golden-era of the 1970s Blaxploitation films as you
can imagine Richard “Shaft” Roundtree walking into the next building and
following the crime scene for the next batch of clues which he would consider
his last case before retiring.
But
then, the mood changes into a lukewarm evening for the sax going into a pin-drop
momentum as Pasin’s trumpet sets the blare by giving a Miles-sque surrounding
in the nighttime sky before dawn approaches. Then, the 10-minute title track
starts with the synth notes going up and down the stairs.
Tony
brings his upright bass and gives Pete a helping hand. The Rhodes, Sax, and
Trumpet along with the guitars going into some essence of Allan Holdsworth and
Richard Pinhas’ exercise. Instruments do a thunderous roar as they take part in
the melody before Percussionist Nanny Assis creates this intense/dramatic duel
between him and the drummers.
While
Pete and the band members rise up, up, and up before the guitar does a little
bit of feedback, Tony comes into play through the strings and go around,
under, and in. The last few seconds come to a dooming end from the synth and it
hits a “BLLAARP!” note. Their tribute to Tony Williams with his cover of There Comes a Time, Pete goes back into
the driver’s seat of the electric piano and works out more of his magical
moments to give a nod up to Tony Williams up in heaven.
I
imagine there’s more walking alleyways that Pete gives the band heading into
those halls for another adventure with a bluesy twist. But it’s the guitar and
Tony’s bass sharing the same alleyway near the last two minutes on the melody
share structure as it ends with him and Pete closing shop. But it’s Way Down Yonder where Pete brings
everybody into a circle.
Everyone gets ready to drive down into the highway one last
time to drive off into the sunset as they are back in 1972 of Herbie Hancock's golden-era, but with an interesting twist of the harmonica and jaw harp
style done by Rob Paparozzi. Pete heads into the Organ and plays some
Blues/Soul style on the instrument as if the recording was done inside a church
and laying down the gospel.
Pasin meanwhile goes into a plunger trumpet mode and
bringing to mind of the late ‘30s style of swing at the end. Not only it’s a
closing number, but it shows that Pete and his teammates are having a whole lot
of fun. While as I’ve mentioned this album was recorded in only two days, Möbius is
not only Pete Levin’s finest, but he brings the entire house down.
It is
a well solid release that made my ears go up of how much accomplishment this is
on as they jammed, relaxed, and creating wonders to see what Pete Levin will
think of next.