Yellowjackets

Any doubts about Yellowjackets’ continued viability will beinstantly dispelled as Kennedy’s whipcrack drums launch the band into theirdistinctively elastic take on “Comin’ Home Baby.” Penned by bassist Ben Tuckerin the early 60s, with lyrics added later by Bob Dorough, the song has become aperennial, recorded by everyone from Herbie Mann to Mel Tormé, Quincy Jones toMichael Bublé. Mintzer’s arrangement, doubling the melody on tenor and EWI,instantly transforms the familiar chestnut into a Yellowjackets vehicle.

Alderson’s title tune follows, built upon a bustling grooveinspired by the infectious rhythms of Dave Weckl and Herbie Hancock’s Thrust, which also led the composer togive his Fender Precision a workout. “It’s a fun party tune,” the bassist says.“I love tunes that are fun to jam on and that have unexpected drum grooves. TheHeadhunters and Thrust were alwaysbig influences on me, so I specifically used the P-Bass because that was thesound I was going for.”

Mintzer’s “Will Power” was also built from the rhythmicfoundation up. The title is a nod to Kennedy, who sent a recording of the basicbeat to his bandmates and caught the saxophonist’s ear. “The search for unusualrhythmic patterns is never-ending,” Kennedy says. “As a musician as in anyprofession, if you remain stagnant then it's all downhill from that point on.”

In keeping with the drum-oriented theme, Ferrante’s“November 8^th” doesn’t acknowledge any significant anniversary(though you can any number of historic events on that date, from the StockholmBloodbath of 1520 to John F. Kennedy’s election in 1960), but the song’sdisorienting 11/8 time signature. The keyboardist also contributes the lovely,wistful ballad “The Truth of You,” its melody as indelible and timeless as itstitle.

Guitarist and singer-songwriter Raul Midón makes a special guest appearance on “The Lion,” layeringhis wordless vocal into Ferrante’s upbeat melody and deftly weaving his guitarlines into the band’s lively sound. “Adding his voice definitely brought outthe melody,” Ferrante says, “and I was so impressed by how he folded his guitarpart into the song. One of Raul's many strengths is his incredible groove, andreally found the space to integrate his guitar while moving the tune forwardrhythmically.”

The first of three tunes in a row by Mintzer, “SwingmeisterGeneral” recalls a turn of phrase in frequent use during the saxophonist’s daysworking with the late bass virtuoso Jaco Pastorius while capturing the boldswing foundation of the tune. It’s followed by “An Interesting Dream,” whichstemmed from a nighttime vision of playing lead trumpet in a big band, and“Broken,” which references both the piece’s staggered time feel and, moreobliquely, the general state of the world in these turbulent times.

A similar sense of uncertainty pervades Ferrante’s foreboding“An Unresolved Question.” Alderson’s jittering, electronica influenced“Xemeris” closes the album on a forward-looking note, fusing acousticinstruments and MIDI programming under the influence of artists like Aphex Twinand Squarepusher. The title, which simultaneously suggests ancient Greekhistory or far-flung astronomical bodies (and, by sheer coincidence, is ananagram for “remixes”) was invented by Alderson, its ultimate meaning leftambiguous.

There is a communal joy that invigorates all of that musicthat Yellowjackets create. The thrill of group discovery bristles through themuscular funk grooves, deepens the emotion of the ballads, digs deep to unearththe roots of the band’s bracing sense of swing. On Fasten Up, their rich history remains in focus in the rearviewmirror as they accelerate into the future.