On his second release for Mack Avenue (and first studio recording in six years), Detroit native Kenny Garrett offers all original compositions dedicated to his diverse “seeds of inspiration,” from his high school band director Bill Wiggins (“Wiggins”) to mentor Marcus Belgrave (“Detroit”) to Roy Haynes (“Haynes Here”), Jackie McLean (“J. Mac”) and Keith Jarrett (“Ballad Jarrett”). His core ensemble of pianist Benito Gonzalez,  bassist Nat Reeves, and drummer Ronald Bruner is augmented by percussionist Rudy Bird and vocalist Nedelka Prescod, with one track featuring a choir that includes Prescod, Bird and co-producer Donald Brown.  Overall the music unites Garrett’s fiery acoustic post-bop with his more global influences. 

The set begins with the catchy melody and swaying rhythm of “Boogety Boogety,” slightly washed in Latin and Eastern colors. “J. Mac” has a more distinctly bebop-and-beyond thrust, Garrett pushing the enveloped inside out from the first verse while Reeves establishes a brisk undercurrent; Gonzales cranks out a solo that merits more than sideman credit. Bass and percussion vamp through the intro to the very funky “Wiggins,” while the melodic lines of “Haynes Here” somehow suggest an amalgam of the great drummer’s favorite covers of recent years (e.g., Metheny, Corea, Parker); the blending of Garrett’s horn and Prescod’s vocals creates an eerie harmony that adds energy as well as mystery. “Detroit” was recorded with additional old vinyl-like crackles, perhaps to recall the pre-CD era, but mostly it serves as a distraction from an otherwise reverent tribute to Motor City jazz guru Marcus Belgrave. The title track conjures sights and sounds of Africa and the Middle East—the “seeds of the underground?” Garrett’s soprano soars above some frenetic activity from Bruner and Bird, inserting a little Monk (“Espistrophy”?) along the way. “Du-Wo-Mo” (as in Duke, Woody Shaw, Monk) finds Garrett in playful explorer mode, while “Ballad Jarrett” is sweet, solemn, almost classical in the simplicity of the lines and harmonies; Reeves’ steady basslines add elegance, while Gonzalez’ solo is among the album's highlights. 

The expansive “Whole Earth Song” with vocal ensemble is filled with a communal African spirit that carries over to the relatively brief, joyful finale, “Laviso, I Bon?” that was inspired by a musician in Guadeloupe. In sum, this is Garrett at his best, in the company of his most complementary, cohesive ensemble to date. Live, on any bandstand, the music will only soar even higher.

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