Since their founding in 2002, the Cosmosamatics have been one of the most exciting groups in jazz. Spearheaded by twin souls Sonny Simmons and Michael Marcus, the band has thus far released nine recordings and one live DVD. Part of the Cosmosamatics' strength lies in their openness to new sounds and players, and over the years they have incorporated a movable feast of musicians, including bassist William Parker, drummer Andrew Cyrille, and saxophonist James Carter. On their new release, Jazz-Maalika, they are joined by several Indian musicians, and the resulting music is a shimmering blend of East and West, set amid exquisite arrangements with a solid foundation of swing.
Simmons is of course one of the great jazz legends of the 1960s and beyond. Still going strong at 80 years young, he contributes the gorgeous tone of his English horn and alto sax. Marcus is renowned as a first-rate multi-instrumentalist, but in recent years he has devoted himself to the B-flat clarinet, an instrument particularly suited for merging with Indian instruments—witness Tony Scott's Music for Yoga Meditation and Other Joys and Perry Robinson's Kundalini. This time around, Simmons and Marcus are joined by the Cosmosamatics most frequent drummer, the always impressive Jay Rosen, as well as John Austria on piano and Rashaan Carter on bass. The quintet is complemented by special guests Gargi Shinde on sitar, Maitreya Padukone on tablas, and Rohan Prabhudesai on harmonium. The six songs feature various combinations of these eight musicians, making each tune a one-of-a-kind experience.
The opener "Moroccan Dreams" is a Marcus composition that features clarinet, sitar, and tablas, plus the Cosmosamatics' rhythm section. Marcus is a terrific songwriter, and the melody on this tune is wonderfully mellow and appealing. The song starts off with a touch of solo piano, then eases into a sinuous groove. Marcus' clarinet is just gorgeous, his lines marvelously wavy with wild dips, combining easily with the sitar's sonorous twang and the tablas' lovely rolling energy.
It's an immensely pleasing piece that's a seamless blending of two musical worlds. "Myna Love Call" is a short song by Marcus that's a trio with clarinet, tablas, and drums. It's another enchanting tune, this time with a sprightly melody and a fine tablas solo by Padukone. Simmons' song "Hare Krishna" is another trio, this time featuring sitar, harmonium, and the rich, mournful tone of Simmons on English horn. The piece is a great opportunity to hear this much-neglected instrument played by one of its masters; Simmons is a deeply emotional player, and he suffuses the instrument with a deep, plaintive cry, as well as free-form stutters.
Simmons also busts out with some vocalizations, proof of his reputation as one of jazz's great showmen—it's always a treat to see him play live. "Tikum Olam (Healing the World)" is another charming Marcus composition, only this time he plays tarogato with all three of the Indian musicians. The tarogato is a beautiful instrument that has been described as a cross between the English horn and soprano sax, and the unique tone expands the musical palate in a most delightful way. The song progresses in a mellow, easy fashion, the four musicians unfolding the music at a serene pace. It's a hopeful, full-hearted tune, and it's a great way to end the album.
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