The saxophonist studied intently and performed in youth orchestras that traveled the globe, all before earning a full scholarship to the Berklee College of Music in Boston. He moved to New York City in the early ’90s and found work quickly, replacing Michael Brecker (a huge influence on the young musician) in the group Steps Ahead and going on to play with the Gil Evans Orchestra and many others.
By the mid-’90s, McCaslin — who had deeply explored the various aspects and possibilities of traditional Jazz — began to collaborate on more experimental Jazz projects, including the group Lan Xang and Ken Schaphorst’s big band (alongside John Medeski and other unique top players).
McCaslin’s creative curiosity set the tone for his diverse solo albums, which have been widely acclaimed for the composer’s successful risk-taking.
When McCaslin comes to the Blue Wisp this Tuesday, he’ll be supporting on of his most compelling releases yet, 2012’s Casting for Gravity. The album was inspired by McCaslin’s interest in Electronic music, an uncommon ingredient in most forms of Fusion. The album roams from textural, ambient explorations (particularly on a cover of Scottish electronica duo Boards of Canada’s “Alpha and Omega”) to quirky, funky mediations like the glitchy “Tension.”
It’s a recipe that shouldn’t work, but Casting for Gravity is
a fascinating listen that makes one wonder if visionaries like John
Coltrane or Ornette Coleman might not have pursued this direction if
they were born 60 years later. It’s primarily a progressive Jazz album,
with tasteful electronic flourishes. Instead of aping Electronic music
nakedly, McCaslin seamlessly incorporates the arrangement spirit of
Electro masters like Aphex Twin or more contemporary EDM artists into
his own compositions.
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