Once the wunderkind of jazz saxophone, Donny McCaslin has long passed the point of fitting comfortably under the banner of either contemporary jazz or fusion. Partly inspired by the eclecticism of David Bowie, on whose final two albums he worked, McCaslin’s solo work over the last decade has absorbed influences from alternative rock to electronica, mutating into a sonic wave all his own.
Lullaby For the Lost, his latest foray into the outer worlds, sounds like fellow altoist David Sanborn backed by Ozric Tentacles and produced by Aphex Twin. Backed by his usual cohort, including keyboardist Jason Lindner, bassist Jonathan Maron, multi-instrumentalist Tim Lefevbre, drummers Nate Wood, Mark Guilana, and Zach Danziger, and guitarists Ben Monder and Ryan Dahle, McCaslin lets his slick riffs and dynamic solos climb a mountain of controlled chaos. “Kid” starts out with an almost mainstream pop hook, before adding bridges of menace and hints of dub.”Blond Crush” rides a rubbery, almost disco groove, but adds a side of big rock energy to keep it off the dancefloor. “Tokyo Game Show” imitates its titular inspiration with hyperactive grooves, unexpected noises, and an energy level that verges on hysteria. The title cut reaches for anthemic emotion and nails it to the wall.
McCaslin could’ve easily danced through a career alternating contemporary hard bop and respectable fusion. Instead, he gives us records like Lullaby For the Lost that challenge the notion that jazz prodigies need stay in their, or anybody else’s, lane.
