Though it was very briefly self-released in 2018, the
Ropeadope release of
Speakers in the House marks the first new
Headhunters material since 2011's star-studded
Platinum. The earlier record featured the core trio -- percussionist
Bill Summers, drummer
Mike Clark (mainstays since 1974), and saxophonist
Donald Harrison -- with a guest list that included
Bennie Maupin,
George Clinton,
Patrice Rushen,
Snoop Dogg, and
Killah Priest.
Speakers in the House doesn't showcase hip-hop, but offers an ambitious musical palette centered in NOLA jazz-funk, post-bop, contemporary jazz, and neo-soul. The trio added keyboardist
Stephen Gordon and bassist
Reggie Washington as new members, and enlisted special guests on select tracks including organist
Jerry Z, kora player
Fode Sissoko, trumpeter
Ashlin Parker (who also contributed the cover art), and drum and percussion programmer
Scott Roberts. The set was recorded in New Orleans and co-produced by
Clark and
Summers.
Opener "Kongo Square" is introduced by a cascading, nearly mystical-sounding kora over
Sissoko's chanted vocals.
Gordon's ambient synths float around the margins before the band enters.
Clark's rolling, breaking drum kit drives
Washington's bass from the front as
Harrison's alto and
Parker's trumpet engage in fiery post-bop interplay and solos as sampled choral vocals and electronics ride the groove. The second-line drum and percussion intro on "Rocking at the Mole House" introduces a meld of jazz-funk, dub reggae, and steamy Caribbean rhythms with a filthy bassline and
Harrison overdubbing his alto as a one-man horn section. "HH 75" is an almost cinematic jazz interlude with circular drumming, ambient synth, and
Washginton's rubbery bassline and solo. On "Over the Bar,"
Gordon's wonky clavinet looks directly in the rearview mirror at
Herbie Hancock's
Head Hunters. His bumping vamp is matched by jagged lines from the bassist, drummer, and percussionist.
Harrison delivers a greasy solo atop the keyboards. Before it's through,
Gordon switches to acoustic piano and offers a striking, blues-based hard bop solo. "Vaspurakan" is introduced by
Jerry Z's funky organ and
Harrison's sax vamp.
Z swings the changes as the alto soars above the funky bassline and multivalent, multi-textured percussion patterns, driving home a meaty groove. "Stoop," introduced by
Washington, is a lush, melodic exercise in contemporary jazz with wonderful martial drumming from
Clark and sumptuous Rhodes piano from
Gordon;
Harrison passionately delivers the melody. "Actual Proof" is a scintillating exercise in modern post-bop as
Gordon's acoustic piano engages with
Washington's syncopated blues and
Clark's cut-time bop shuffle. Closer "Stop Watch" weds spacy jazz-funk, post-bop, and R&B into a seamless whole as
Summers and
Washington drive the band from underneath.
Harrison's soaring alto meets the skittering drum kit, a knotty piano, and washed-out electric keyboards fueling lithe, melodic modern jazz. The band then shifts gears toward Afro-Cuban son and Latin jazz, underscored by punchy piano montunos as
Clark and
Summers double-time him in a rhythm orgy.
Speakers in the House is remarkably masterful, fresh-sounding, and creatively restless. For over nearly 50 years,
Headhunters have continually reinvented themselves. This is no exception. ~ Thom Jurek
![Graceland [Remastered & Expanded]](http://prodimage.images-bn.com/pimages/0886978425027_p0_v2_s90x140.jpg "Graceland [Remastered & Expanded]")
