Sometimes in life you just need to groove.
If you are indeed serious about grooving, Chicago Afrobeat Project's second and self-produced album (A) Move to Silent Unrest is perhaps the perfect source for a dance-worthy beat.
A stylistic launch into afrobeat music fused with Latin, jazz, rock, high life and juju music, this ensemble has created a solid compilation of seven songs that will capture the attention of listeners of all backgrounds and interests. The band's website reports playing 100-plus performances a year, which insinuates that, regardless of how amazing they sound on a recording, the heart of their vibrancy and intensity must come from live performances.
The muted guitar, nuanced bass part, and poppy keyboard have combined to form a rhythm section of uncompromising groove. The third track on (A) Move to Silent Unrest, "Media Man," is the only song that features vocals, but they take a backseat to the complex instrumentation that will ensure the listener a deep-seated desire to move unceremoniously with the passionate, throbbing beat. Eight minutes long, the track's melody features CAbP's horn section. With syncopated licks and choppy articulation, it is obvious that the sax players are all of the same, cohesive mindset. Also featured in this song is a soothing guitar solo that sounds like it came straight from an Allman Brothers' album. Cool and collected, the guitarist riffs and pulsing beat with an air of sophistication and musical savvy.
"BSCG2" is the opening song that displays an excellent embellishment of meter and rhythm. Thoughtfully characterized by the mellow horn section and, more importantly, the very prominent baritone sax, the song is an inviting exercise into what CAbP is all about — soulful expression. The highlight of this song is the soft, melodious trombone solo. "BSCG2," gently improvised and gracefully presented, catalogues a triumphant and beautiful brassy sound.
Most captivating about CAbP's efforts is its casual inclusion of jazz and rock that still sound fresh and original. It is difficult to find a large group of contemporary musicians that can improvise and rock hard instead of just sounding like generic elevator music.
The most frenzied song is Track 7, called "Carcass." Only four minutes long, this song is much more akin to a sprint rather than CAbP's typical marathon of sound. The melody is much less distinguishable in light of the crazed bari sax. The keyboard solo is light and upbeat, and it transcends the intense undercurrent that is the melody. The listener is then confronted with a rogue alto that takes an intense departure from any other solo. It is surprising, engaging, and a great contrast to the solid block of sound presented by the group, and very evident is the group's ability to master the beat. Even in light of innovative solos and fiery layers, the groove is never lost or hidden, but instead celebrated.
Track 2, "Superstar ’06," is another stand-out track. The song is bluesy yet still very energetic, and the basic melody provided by the keyboard is one that is catchy and listenable. The call and response between the alto sax and the rest of the horns is reminiscent of the band's roots in an African inspiration. Solo after solo, the listener is taught specifically how creative and talented these musicians are.
Despite the limitations of a recording versus a live show, Chicago Afrobeat Project does not disappoint its listener. They are able and willing to provide funky, animated songs that are easily accessible to everyone, while still maintaining one of the most genuine grooves around.
4 stars out of 5
