1. Loopy (5.59)
2. A Serious Man (3.49)
3. Mom’s Song (2.05)
4. Bar Stomp (3.04)
5. Outdoor Revolution (3.08)
6. Western Sky (2.12)
7. Burning Match (5.11)
8. Claire’s Indigo (2.11)
9. Snufkin (2.48)
10. Old Silhouette (4.12)
11. Winds of Grace (8.39)
Dani Rabin – guitar
Danny Markovitch – saxophone
Steve Rodby – bass
Paul Wertico – drums, percussion (1, 8)
Jamey Haddad – percussion (2, 4, 6, 8, 9, 10)
Matt Davidson – vocals (3, 6)
Leslie Beukelman – vocals (3, 6)
Makaya McCraven – drums (4)
Daniel White – lyrics, vocals (11)
Marbin’s eponymous debut came to my attention towards the end of 2009, soon after its release. Even if the duo formed by two young, talented Israeli-born musicians who had recently moved to Chicago was an unknown quantity to me and most other reviewers, the album’s endearingly naïve artwork and intriguing musical offer were enough to warrant closer scrutiny. With a name cleverly fashioned out of the surnames of the two artists (Danny MARkovitch and Dani RaBIN), Marbin made their debut on the US music scene with an album full of intriguing melodies crafted with ony two instruments – Rabin’s guitar and Markovitch’s saxophone – characterised by an ethereal, almost brittle quality, reminiscent of the delicacy of Far Eastern art, complex yet at the same time not too taxing for the listener.
The year 2010 marked a veritable quantum leap for Marbin (very active on the live front in the Chicago area), when they came under the radar of MoonJune Records’ mainman Leonardo Pavkovic, a man with a keen eye for new acts of outstanding quality. Promptly snapped up by the New York-based label, Marbin – who in the meantime had become a real band, with the addition of Pat Metheny alumni Steve Rodby (bass) and Paul Wertico (drums) – released their second album at the beginning of 2011.
Breaking the Cycle is indeed an impressive effort, which sees the band build upon the foundation laid by their debut, while fine-tuning their sound and adding layers of complexity, though without making things unnecessarily convoluted. Indeed, rather interestingly, a fellow reviewer used the term ‘easy listening’ in connection to the album – a definition that may conjure images of that openly commercial subgenre known as smooth jazz. However, while Breaking the Cycle does have plenty of smoothness and melody, I would certainly never call it background music. The presence of a full-blown rhythm section has given a boost to the ambient-tinged, chamber-like atmosphere of the debut, and some of the tracks display a more than satisfying level of energy and dynamics, all the while keeping true to the deeper nature of their sound.
Clocking in at slightly over 40 minutes, Breaking the Cycle immediately appears as a supremely sophisticated effort, starting from the striking cover artwork whose mix of the industrial (the bridge on the front cover) and the natural (the elephant on the back cover) seems to reflect the nature of the music itself. While the majority of the tracks lean towards the slower, more atmospheric side of things, delivered in a rather short, somewhat compact format, the album is bookended by two numbers that differ quite sharply from the rest, as well as from each other. Opener “Loopy” is the closest Marbin get to a ‘conventional’ jazz-fusion sound, almost 6 minutes of sax and guitar emoting over an exhilarating jungle beat laid down by Wertico’s drums and percussion that gives a first taste of the seamless interplay between the instruments. On the other hand, the medieval-tinged, acoustic folk ballad “Winds of Grace”, masterfully interpreted by guest singer Daniel White (who also wrote the lyrics), though apparently out of place in the context of the album, is imbued with a feeling of nostalgia and loss suggested by several other tracks.
Indeed, the three numbers that form the central section of the album might almost be considered as parts of a single suite, since they are characterized by a wistful, romantic (though anything but cheesy) mood. An extended sax solo is the real showstopper in “Outdoor Revolution”, while wordless vocalizing enhances the country-tinged acoustic guitar in “Western Sky”. “Burning Match” seems to reflect its title almost perfectly, its smouldering atmosphere touched with a hint of sadness, the yearning tone of the sax suggesting the end of a love affair. A strong visual element is evoked throughout the album: “Old Silhouette” creates a faintly mysterious picture, yet full of subtle warmth intensified by the slow, deep movement of the percussion; while the sweet, soothing chanting in “Mom’s Song”, combined with the gentleness of the guitar, brought to my mind images of a beach at sunset. In sharp contrast, “Bar Stomp” delivers exactly what the title promises – a bluesy, electrified romp with Rabin’s guitar taking centre stage, bolstered by an imposing percussive apparatus involving the presence of three drummers (Wertico plus guests Makaya McCraven and Jamey Haddad), and spiced up with a hint of cinematic tension.
The final remarks I made in my review of Boris Savoldelli’s Biocosmopolitan may also apply to Breaking the Cycle. Oozing sheer class, with outstanding performances all round, yet plenty of warmth and accessibility (unlike a lot of hyper-technical albums), this is a release that has the potential to appeal to anyone who loves good music and does not care about sticking a label on anything they hear. Judging from the positive reactions to this album, Marbin are definitely going to be another asset for the ever-reliable MoonJune Records.