The Suzi James, Mark Cook and Mike Jobborn trio keep their fantastic 2023 debut more than relevant by unleashing “Paradigms Part 2 “ and inviting guest performers (some returning (Bachman and Ellett) and some new players to inspire the arrangements with some dazzling personal touches. Drummer Bill Bachman is now seemingly full in as permanent member, while guitarist Chris Gill (Band of Rain), guitarist/vocalist Steve Bonino (solo, Enigmatic Sound Machines, Red32), Massimo Pieretti and Chris Messina on keys, and Tenk van Dool (Temple of Switches) supplies mandolin and guitar on assorted tracks.
Eight tracks that include three sweeping epic monsters for just a hair over one hour, let us dive in and hear what is ‘cooking’ (pun fully intended!). “Galaxy Unknown” sets the conceptual wheels in motion with a billowing instrumental that shows the technical skills as well as the inspired melodic traits needed to enthrall. Cook’s snarling Warr and bass guitar work blend perfectly with Jobborn’s evocative keys, the steady pulse provided by Bachman’s kit and Suzi James burning it up on the fretboard. Space , the final frontier.
Then we are directed straight into the fulminating “A Beacon of Light”, a dozen+ minutes of freefalling splendor. Gill and Messina settle in with the densely knitted pattern established by the quartet, the frolicking bass being a guiding illumination of the path ahead. Once the initial melodic spark has been lit, the insertion of well-dosed ambient soundscapes provide the premise for another Cook ramble, synthesizers flickering brightly, various electric guitars swooning with forthright delight. The sonic build-up eventually expands into a kaleidoscope of mirrored luminosity that had me shuddering with delight, a peaceful delirium that forced my eyes to close and the ears to open the gates of paradise. The twists and turns are never abrupt yet keep the imagination in a state of endless anticipation. A stunning track, to say the very least.
Two exhilarating shorter pieces are inserted to keep the momentum well fertilized for the next blow-out. First, the aptly titled “A Dramatic Interlude”, where an almost pastoral touch has the guitar twanging just a wee bit, Cook’s chatty bass bouncing off the barn doors, the twinkling e-piano droplets, the percussive pace leisurely, as the journey through the valley conjures new imageries. Such as the bucolic yet sullen “A Hole in the Ground”, a somewhat dimmer continuation of the previously established atmosphere, but where Steve Bonino offers not only his apologetic voice but some crushing work on the guitars to the mix.
“4th Dimensional Waves” is the second epic installment, this time featuring the extraordinary Gayle Ellett (a personal favourite going back to his Djam Karet days) on his two-pronged predilection for mellotron backgrounds and upfront guitar devastations. Bridging the gap between symphonic and complex jazz-tinged influences, the tumultuous arrangement is completely unique, compared to the previous (and following tracks) yet still slide perfectly into the overall presentation. The rhythm section lays down an intensified groove that only serves to encourage the colossal melody, as both Bachman and Cook stay in the pocket, unwilling to let go. The keyboard work remains generous and inspiring, a world class slice of genius, that has an unmistakable film score foundation that just keeps on giving. Perhaps my favored epic 2026 track yet !
You guessed it, two more condensed portions before ending with the grand finale. There is a pattern, here! “Lyrical Paradox” has Ellett fusing his mellotron with bouzouki and in concert with Pieretti’s delicate piano and synths, laying down another melodic nugget worthy of the finest jewelry. It’s a sprightly and jazzy flirt combined with elegant simplicity that seeks only to please. The playful “Outlooks of the Closed-Minded” has a certain air of insistence, the perfect statement for Suzi James to exhibit her impressive chops, all kinds of glorifying keyboards and revolving bass patterns added to the sophisticated percussive display. It’s closer to classic jazz fusion, with a lively focus on atmosphere.
In an ever-increasing mad world (with tears turning rapidly into fears), “Wishful Solitude” has become my recent credo by which I wish to live my existence, and surely not the only one. The last epic has a recognised soothing connotation, an enduring construct on which guitarists Tenk van Dool and Chris Gill get to explore the benefits of introspection and inner peace. James’ evocative flute work however takes the cake, a flawless river to the soul that sets up the inevitable healing process. A synth wobble, a bass rumour and a tap on the snare take the arrangement through a gaping cosmic gateway that explores the furthest reaches of the inner world, where organ asteroids blaze across the horizon, some Steve Hillage-inspired guitar flourishes expanding the consciousness, a superb guitar duet for the ages. When Tenk supplements the mandolin, the trail glows like a brazen meteor, a truly splendid achievement.
The first installment of Paradigms was amazing. This one is off the map.
5 archetypes