The collaborative output of Trio Mokili serves as a vibrant, living testament to the fluidity of global musical borders. On their self-titled release, guitarist Nathaniel Braddock, drummer Makaya McCraven, and bassist Junius Paul engage in a dialogue that dissolves the boundaries between traditional African repertoires and the expansive liberty of contemporary jazz. Recorded across two sessions at Electrical Audio, the album captures a specific, kinetic energy that feels both deeply researched and entirely spontaneous. Braddock, whose extensive time in the Democratic Republic of Congo and Ghana informs his melodic sensibilities, leads the ensemble into a territory that honors its origins while fearlessly projecting them into an avant-garde future.
The record opens with “Yekatit,” a piece that immediately establishes the group’s preference for rhythmic complexity and melodic warmth. Braddock’s guitar work is fluid, intertwining with the muscular, inventive drumming of McCraven. Unlike more rigid interpretations of Ethio-jazz, this arrangement breathes with an indie-rock sensibility, allowing the trio to explore the internal spaces of the composition. This spirit of exploration deepens in “Colonial Mentality,” where the political weight of the source material is translated into a dense, interlocking groove. Paul’s contrabass provides a gravitational center here, ensuring that even as the improvisations spiral outward, the music remains tethered to a powerful, earthy pulse.
In “Nyarai” and “Pfumvu Paruzevha,” Trio Mokili demonstrates a remarkable ability to reinterpret Zimbabwean classics with a fresh, improvisational lens. There is a shimmering quality to Braddock’s tone, occasionally augmented by piano and percussion, that mimics the intricate patterns of the mbira while maintaining a distinct, electric identity. The transition into “Mariama Kaba” showcases the trio’s softer side, a moment of melodic grace where the interplay between the three musicians becomes almost telepathic. It is a highlight of the set, proving that their collective “Mokili” (the Lingala word for the world), is one of profound empathy and shared vision.
The album’s later movements, “Yekermo Sew” and “O Bia,” push the experimental boundaries of the project even further. On these tracks, McCraven’s percussion work is particularly transcendent, utilizing a wide dynamic range to drive the compositions toward a fever pitch before settling into reflective lulls. The group avoids the pitfalls of derivative fusion, opting instead for a synthesis that feels organic and earned. By the time the final notes of “O Bia” fade, it is clear that Trio Mokili has succeeded in creating a work that is as much about the future of global collaboration as it is about the heritage that inspired it. This is a record of immense curiosity and technical poise, offering a panoramic view of a musical world that is constantly in motion.
Learn more by visiting Nathaniel Braddock | Invertebrata Records | Bandcamp.
