Free Form Funky Freqs - Urban Mythology: Volume One

Genre experimental Publisher Thirsty Ear Recordings External Links Thirsty Ear Recordings

Free Form Funky Freqs sounds exactly as the name suggests and their music came to be in an equally bizarre way.

The trio itself is probably better known by its parts: guitarist Vernon Reid, bassist Jamaaladeen Tacuma, and drummer G. Calvin Weston. All were frequent performers in New York's infamous (now deceased) Tonic Performance Space and the first time they performed together was a jubilation of its closing. Not long there after, the trio met again to play a second gig. The third time they ever played together, they recorded the Urban Mythology: Volume One LP. Loaded with true talent, Free Form Funky Freqs is a force to be reckoned with.

The first track is nearly a 12 minute epic that is truly a brutal assault on the creative senses. Called 'A Tale of Two Bridges', the song is a balanced stew of equal parts synth rock, power jazz, and good old fashioned funk. When the song is finally over, you might feel as though you've just been on a rollercoaster that makes the lull which exists between the next track like a dare for you to go on another ride. Fortunately, this next track, called 'Don Cheadle' isn't nearly as epic. However, it's every bit as funky. The rock style beat and notey bass line boasts well with the guitar as you're casually confronted with the expertise of Vermon Reid's ability to make his instrument speak. When the song finally climaxes to resolution, you're still left wondering how chemistry of this nature can so easily work. 'Ghost Sign on Crossroad' is drummer G. Calvin Weston's turn to shine as he flies through complex fills and polyrhythmic beats with both grace and awareness. 'Over and Under' is like a rock song impressed upon a psychedelic canvas. Following the albums trend, it is bassist Jamaaladeen Tacuma's turn to shine in symmetrical unison with Reid's guitar. Not to be outdone or outspoken, the balance is close to perfect. The album's 6th song, 'Nappy Hour', is something like the marriage of groovy disco and the funkadellic- the child of such a marriage being the urge to dance. 'Chump Champ Chunk' has a southern rock or blues style and is truly haunting. Urban Mythology: Volume One wraps up with the percussive 'Doing Within' and the very dissonant 'Street Corner Prophecy' (no, the song is not skipping).

If there are any weaknesses to the album, it is only because the album outdoes itself. What I meant by that is Urban Mythology: Volume One is so loaded with talent that the trio might not be able to best it with a follow up. It is also somewhat disheartening to realize that talent like this exists in only two places: the classiest of music clubs and our imaginations. To say that Free Form Funky Freqs has created a masterpiece would be an understatement because it fails to recognize the roots of harmony of which it was created.

One has to wonder how such music can come to be on only a third collaboration, or why some musicians are so gifted when others are not; and the the answer is as elusive as trying to categorize the music itself. The only thing that is certain is that Free Form Funky Freqs and their Urban Mythology: Volume One is both a liberation and confinement of both talent and uncanny creativity.

Let us hope they record a volume 2.