Brandon Coleman signaled his galactic wanderlust on
Resistance with a skyward gaze and encouragement to "Just Reach for the Stars." The keyboardist then conceived this follow-up as a musical companion for an interplanetary trip spent "searching for a rare precious metal that we need to bring back to Earth." Although that might bring to mind
Lenny White's
The Adventures of Astral Pirates,
Interstellar Black Space contains no sense of conflict other than a fleeting mention of an unspecified fight, and love songs greatly outnumber calls for unity. Similar to
Resistance, this was inspired by jazz fusion predating
Coleman's birth -- primarily vocoder-era
Herbie Hancock and mid- to late-'70s
George Duke -- but quite a bit more classic R&B, straight-up funk, and firebolt fusion are in the mix, echoing the likes of
Stevie Wonder, Philly soul,
the Time, and
Return to Forever. Apart from the album title and certain track titles, the science fiction element is actually subtle.
Coleman's synthesizers sometimes evoke weightlessness or, in the case of "Runnin," a tense action sequence, and there's no obvious sci-fi lyricism. Drifting ballads "Just Stay" and "Be with Me" don't technically say much, but they're strong statements of love and commitment. Sweetened sitar, tremulous strings, and
Coleman's heartwarming pleas through vocoder make the latter something like an extended coda to
Hancock's "I Thought It Was You." Elsewhere,
Coleman's voice is secondary, a supporting instrument, like in "We Change, Pt. 1," more a corkscrewing groove -- out of which
Coleman and longtime collaborator
Kamasi Washington emerge with simultaneous solos on synthesizer and tenor saxophone.
Coleman wanted to make
Interstellar Black Space sound less like a production than his previous LP, and he does so most noticeably with two mostly acoustic and fully energized pieces with
Keyon Harrold (trumpet),
Ben Williams (upright bass), and
Marcus Gilmore (drums), further reminding listeners that he doesn't need electricity to dazzle. Just as important, these cuts are as integral as those with the programmed drums that whomp, synthesizers that burble and flutter, and vocals heavy on effects, no mere tack-ons or diversions. ~ Andy Kellman