by Jonathan Widran
A groundbreaking force in steel panning who has pretty much single-handedly forged a jazz-inflected genre all his own, Andy Narell again showed the world the vast potential of his chosen instrument on his 2004 album, The Passage; that disc featured a 30-piece steel pan orchestra from Paris called Calypsociation, in addition to jazz legends Michael Brecker, Hugh Masekela, and Paquito d'Rivera. While perhaps not as logistically complex in scope -- Narell sticks to three incredible soloists, Mike Stern, saxman David Sanchez, and percussionist Luis Conte to enhance his lively panning -- Tatoom was another forward-thinking set. Rather than record 30 pan players live, Narell meticulously recorded the six free-flowing ten-plus-minute tracks one instrument at a time. He began with computer sequences of the music, incorporated the hypnotic and joyfully aggressive drums of Mark Walker and Jean-Philippe Fanfant, then added Conte's congas and percussion. He then added an assortment of brake drums and cowbells, later his pans (one at a time!) and his solos, and finally the solos by Stern and Sanchez. Stern's are energetically played but, interestingly, somewhat distant in the mix on the shimmering and lively &Baby Steps& and spirited but slightly more brooding &Blue Mazooka.& Sanchez's lyrical horn and passionate improvisation matches Narell's wild energy on &Tabanca& and shows the seamless way that the pans can fit into a traditional jazz context. The jubilant closing track, &Appreciation,& was originally composed for the 2000 Panorama competition in Trinidad and performed by the 100-player steel band Skiffle Bunch; Narell's expanded version here has a simpler arrangement, but makes for a rousing finish to yet another top-notch effort.