10 Songs, 1 Hour 10 Minutes

EDITORS’ NOTES

Saxophonist David Binney has built up quite a discography since his 1989 debut, Point Game. On 2014’s Anacapa, he presents 10 original tracks that fuse rock and jazz in thoughtful ways. The electric guitars of Wayne Krantz and Adam Rogers bring heft to the group sound. Drummer Dan Weiss’ tabla and guest Sergio Krakowski’s pandeiro add variety to the percussion; drummer Obed Calvaire also appears. John Escreet moves between piano and Fender Rhodes, consistently adding tasteful color and harmony. Matt Brewer’s electric bass and the hard-hitting beats ground the music as solos fly above. On “The Golden Zone,” Binney’s sax is one layer in a tangle of lines; later he plays a gracefully shaped solo. Wordless vocals nicely couple with sax on “Waiting for the Blast,” a melancholy piece marked by choppy rhythms. “Imagination Sets Us Free” is a slice of catchy funk, and “Heart Shaped Mind” features an easygoing groove created by compelling percussion and piano. The synth-textured “She Hates” picks up where the opening cut, “She Loves,” left off, bringing things to a close.

EDITORS’ NOTES

Saxophonist David Binney has built up quite a discography since his 1989 debut, Point Game. On 2014’s Anacapa, he presents 10 original tracks that fuse rock and jazz in thoughtful ways. The electric guitars of Wayne Krantz and Adam Rogers bring heft to the group sound. Drummer Dan Weiss’ tabla and guest Sergio Krakowski’s pandeiro add variety to the percussion; drummer Obed Calvaire also appears. John Escreet moves between piano and Fender Rhodes, consistently adding tasteful color and harmony. Matt Brewer’s electric bass and the hard-hitting beats ground the music as solos fly above. On “The Golden Zone,” Binney’s sax is one layer in a tangle of lines; later he plays a gracefully shaped solo. Wordless vocals nicely couple with sax on “Waiting for the Blast,” a melancholy piece marked by choppy rhythms. “Imagination Sets Us Free” is a slice of catchy funk, and “Heart Shaped Mind” features an easygoing groove created by compelling percussion and piano. The synth-textured “She Hates” picks up where the opening cut, “She Loves,” left off, bringing things to a close.

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