Little-known
Bryant has been the keyboardist for
Ornette Coleman's
Prime Time band for the past decade. On this, his first effort as a leader, he utilizes acoustic and electronically treated keyboard effects with a band featuring tenor saxophonist and
Fringe member
George Garzone.
Garzone is easily the frontman on these seven compositions, all penned by
Bryant. Bassist
John Turner (
Either/Orchestra,
Matt Wilson) and drummer
Bob Gullotti (
the Fringe) make for simpatico running mates on this program, which displays great love and reverence for
Coleman's many kinds of jazz-based, forward-thinking ideas. In a manner quite reminiscent of
Coleman's magnum opus,
Science Fiction, "Detour" features densely thicketed sheets of sound, ruminating organ, string assimilations merging with
Garzone's hyperactive tenor, and hopping drum swing. In a more straight-ahead, early
Coleman approach, the title cut has that "Happy House" harmelodic sound that
Coleman and
Don Cherry had down pat. "Kidnapped" features a cartoon melody and scurrying, frantic improv. The same melody is framed differently on "Kiss Noise," which swings almost politely, with organ sounds darting in and out of
Garzone's hard tenor lines. Tick-tock rhythms inform "Split Decision," while the 14-minute-plus "Nothing to Know" features a tasteful drum solo by the always inventive
Gullotti. There are quieter moments, too -- "Little Black Dress" has definite ties to
Coleman's "Lonely Woman" in its rhythmic openness and melodic melancholia. There are two one-minute interludes written by
Chris Bowman, who works with
Bryant in the band Shock Exchange. "I" spacily leads into "Detour," while "II," with its mariner's bells and jungle polyrhythms, sets up the title cut.
Bryant has a progressive vision of jazz, wedding avant with fusion, classical, and world music elements. It's clear where that direction has come from, and where it's heading. Each track segues into the next quite quickly, which is bad for potential airplay but good for listeners, who can hear this suite-like CD the way it was intended to be heard.