Max Moran. Photo by Jason Kruppa.

Powered by a new generation of New Orleans players, Neospectric, bassist Max Moran’s first release as a leader, rides a groove from the Crescent City’s funky tradition right into the 21st century.

Max Moran and Neospectric
Neospectric (Bubble Bath Records)
A review
In the credits for each track in the liner notes for Neospectric, the drummer tops the list of musicians. It’s fair warning that the music on this album—10 tracks of originals from the 28-year-old New Orleans–based bassist Max Moran—is centered on groove, and what a groove it is. On the ultrafunky opening track, “All Right,” which features celebratory horn arrangements by alto saxophonist Khris Royal, guest artist Fiend recommends that you buckle up your seat belt and roll the windows all the way down. It’s good advice.

A graduate of the New Orleans Center for Creative Arts and Berklee, Moran was baptized into the mystic secrets of New Orleans’ legendary funk by mentors saxophonist Donald Harrison and trumpeter Nicholas Payton, both of whom make guest appearances on the album. Moran got his professional start in saxophonist Harrison’s quintet and Congo Square Nation, the latter of which is dedicated to preserving and celebrating the music and culture of the Mardi Gras Indians.

Neospectric grew out of a jam session 10 years ago that included drummer Joe Dyson, pianist Conun Pappas, and guitarist Cliff Hines. The chemistry among these guys sparked Moran’s invention of the word “neospectric” and his concept for the band, which emphasizes improvisational conversations on the wave of groove.

Electrifying drummer Alfred Jordan drives the muscular funk on six of the tracks. Check out his terrific contributions on “Chest,” which also features a blistering and perfectly shaped guitar solo by John Maestas, and on “The Grass,” whose layered rhythmic elements deliver a great ride (buckle up and windows down). Drummers A.J. Hall, Jamison Ross, Joe Dyson, and Peter Varnado keep the groove tight on the remaining four tracks. In addition to Pappas and Hines, the rotating personnel includes about a dozen additional players, and special shout-outs are due for Shea Pierre (organ, keyboards) and Joshua Connelly (guitar). Moran’s electric bass locks down the groove on every track, and he expands the bass’s role with melodic and chordal playing that goes beyond the traditional bass line. On three tracks, he also contributes vocals.

The material ranges from the hard-driving funk of “All Right” to the softer contours of “Red” and the dreamy bass and keyboard explorations on “Far Away.” The final track, the fervent “Freedom,” incorporates a recording of James Baldwin from the film Baldwin’s Nigger, and the track’s aspirational horns and gadfly keyboard provide the perfect setting for Baldwin’s monologue.

As much as anything, Neospectric serves notice that a new generation of New Orleans players has picked up the mantle of the city’s funky tradition, reinvigorating that tradition with a 21st-century sensibility. The Bubble Bath Records label, cofounded by New Mexico native Maestas, who transplanted himself to New Orleans several years ago and whose splendid guitar can be heard on every track of the album, is dedicated to giving this new generation a platform to express their musical identity with absolute freedom. Way to go, John.

© 2018 Mel Minter