The biggest rising star on trombone (Down Beat Poll Winner 2003), Josh Roseman has been celebrated for his multi-stylistic musicianship and his powerful command of the instrument. His debut album "Cherry" earned highest critical acclaim, was voted among the 10 CDs of 2001 in German Rolling Stone, CD of the week in the London Guardian and Jazz Album of the Year in Ink 19 magazine. Wired Magazine read: "Thirteen eccentric players clash beautifully on one blindingly day-glow rant after another."
Where "Cherry" gave us multi-angled views of the tears of a clown, the follower "Treats For The Nightwalker" is a bit of funk genius from on high. From the textured, epic sprawl of "Sedate 2.0" to the M-Base-tinged futuristic drive of "Are You There," the disc is orchestral in scope, hard driving, an ambitious milestone for a journeyman hornplayer and notice for the progressive groove scene at large. Drawing on a huge range of influences, from Hermeto Pascoal to Squarepusher, King Tubby to Threadgill, Josh's new album was scored electronically for horns, strings and a very dangerous rhythm section in late 2001 with exacting detail. But the results reflect a turntablist's viewpoint as much as a composer's. Themes are teased until they break. Styles collide fabulously. The grooves sweat, having been pushed well over the edge in long preproduction and mix sessions. And in the midst of all this, you hear the holler of an extravagantly talented live working ensemble: The band is given free reign to paint broadly, fearlessly, in a very physical fashion. Roseman planned and executed the basic tracks for this second disc in between sideman tours with Charlie Hunter, Soulive, Dave Douglas and Dave Holland, and the range of his musical agenda translates clearly here. There are rhythmic elements designed to light up a room, compositional motives that are crystalline, fractal-like, insoluble and fascinating to the inquiring ear, and wild, organic solo work from a bunch of masters.
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