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.