David Dominique — Mask (Orenda, 2018)
A manic, cartoony jazz sound is always welcome, but sometimes it can be a little too much. Mask is full of tricky octet charts that toy with you: a theme will repeat way too many times, or slow down again and again to the point of absurdity. Grooves get cut off abruptly. Electric guitar makes a screaming appearance and then just vanishes.
It’s all executed with crisp, geometric precision, as on the staggering hot-jazz explosion of “The Wee of Us.” But you’ve got to be in the mood for this stuff. The joy in here is relentless, and the cleverness can start to grate, especially when Dominique plays games with repetition. Any song in this collection would be a delightful surprise if snuck into a mainstream set. Together, they teeter between exhilarating and exhausting.
Dominique means well, though. Mask amps up certain elements from his previous album, Ritual, and I do like where his ideas are coming from. There’s an upbeat sense of rebellion here, and a risky dash of humor.
The flute line in “Gotta Fumble” keeps shifting just slightly, for the kind of pleasant disorientation you get from prog rock. “To Dave Treut” is my favorite track, flipping between a buzzy sprint and a swingy, slower-tempo theme. A calmer soloing section features tangly improvising on viola while a steady beat soldiers on in the background.
That violist is Lauren Elizabeth Baba, who runs a big band of her own, the BABAorchestra. It’s a more concretely “jazz” project but it shares a touch of the irreverence of Dominque’s band and is worth hearing.