While certainly the concept of veteran jazz greats exploring the improvisational possibilities of rock classics is commercially appealing, it’s clear from drummer Jae Sinnett’s thoughtful liner notes for The Blur The Lines Project (his 21st album overall) that those considerations are secondary to muscling his way through a genuine re-exploration of his lifelong passion for blues-oriented rock.
Long before he was regaling jazz audiences anchoring the groove behind the likes of Branford and Ellis Marsalis, Freddie Hubbard, Randy Brecker, James Moody and Mulgrew Miller, he was enthralled with and cutting his teeth on Ringo, Ginger Baker, John Bonham, Mitch Mitchell of the Jimi Hendrix Experience, Sly and the Family Stone, P-funk and every blessed musical soul who ever entered Motown Hitsville.
To draw inspiration from the punchy, trippy and explosive Steppenwolf jam at the heart of the six track, 37 minute set, The Blur The Lines Project is an electrifying, potently performed “Magic Carpet Ride” through a brief but colorful history of classic rock and some of these key personal influences. Sinnett powers the grooves throughout while showcasing his sense of adventure via an absolutely mesmerizing drum solo in the midst of Edgar Winter’s iconic “Frankenstein” and his surreal tribal/gospel vocalizing on “Immigrant Song.”
Yet the incendiary intensity of this epic project is equally shared by saxophonist Ada Rovatti (who punches up the wild progginess of Rush’s “Tom Sawyer” and Deep Purple’s “Hush”), pianist and Hammond B-3 ace Allen Farnham (who propels the blues/rock celebration), guitarist Jason Cale (on whose flames Sinnett’s wildest imaginings take flight and ever-thumping bassist Terry Burrell. As great as this album is, The Blur The Lines Project is a concept listeners will quickly hope evolves into a series exploring more territory of rock and roll heaven.
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