The album is, in some part, jazz. But it's also everything else—from traditional Moroccan music to Balinese gamelan playing—along with the heavy Brazilian, Middle Eastern and even elctronica inflluences. Marsella's superb piano work makes for some McCoy Tyneresque moments on "Hutriel." Then the scattering of birdcalls that open up "Natiel" gives way to mellow exotica with chimes and glockenspiel. Finally, the album gets a decidedly unexpected coda as the organ and melodica (it could be an accordion) join forces to play Zorn like a Bach fugue.
Of course, Cyro is everywhere. On top of the orgy of rhythms and the Portugese chants, the layered textures and the controlled insanity of so many different sounds, the energy humming here goes back to his leadership. Anyone who has seen him live before, or had the chance to catch this band at Zorn's recent Masada Marathon at the New York City Opera, will recognize that the electricity humming off every track here has its roots in Cyro. The band that he has pulled together produces a diversity of sounds and colors that can't be found anywhere else. This is global exotica of a kind so wonderfully weird and cool that it's a must-listen for 2011.
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