Ches Smith - Laugh Ash (Pyroclastic Records, 2024)

 

By Sarah “Flake” Grosser

Some people say that all drummers are just air-headed space cadets. Ches Smith would be the first to admit that he is no exception to this stereotype, but one wouldn’t expect it to be true having heard Laugh Ash. The phrase “composed by the drummer” tends to trigger alarm bells, but on this latest album there is nothing to be feared regarding any one-dimensional, or underdeveloped ideas, à la Nick Mason's "The Grand Vizier's Garden Party". It’s instantly apparent that there are many musical facets to Ches that go far beyond simply being a beast on the skins.

For a start he’s (almost) done away with the drums altogether, in favour of gritty, original electronic grooves - a bold move for someone who has forged an already legendary career out of the ‘batterie’, but one that proves his acute ear for interesting, essential rhythms. There is a distinct lack of “phatness” in jazz today, and a lack of sick beats. Opening track “Minimalism” aims to change all that, exploding into Laugh Ash with its gnarly, arpeggiating loop, and satisfying sub bass.

When it comes to drum programming, Ches knows his way around the machines. Something of a beat connoisseur, his electronics are purposefully and meticulously curated. They provide a grounding for the highly ambitious decet, resulting in a sound which is densely layered, and complex, but not without a distinct dedication to a humble groove.

Each track has its own individual flare. On “The Most Fucked,” the drum and electronic introduction sounds somewhat reminiscent to his Haitian-influenced drum contributions on Xiu Xiu’s Girl With Basket of Fruit (2019). He references hip hop MC’s Kool Keith, Motion Man and E-40 as inspiration, and while experimental hip hop certainly lends itself to the influence on production, there is surprisingly no rap feature in sight. The pieces instead are peppered with offerings from poet and vocal artist Shara Lunon. Ches writes: “… the human voice at times adds warmth to the blend of horns and strings; at other times it provides a lyrical presentation or literal or poetic idea.”

And Shara is just one in a staggering lineup of Ches’ talented friends featured on the record. A who's who of 2024 purveyors of free music: Anna Webber (flute), Oscar Noriega (clarinets), James Brandon Lewis (tenor saxophone), Nate Wooley (trumpet), Jennifer Choi (violin), Kyle Armbrust (viola), Michael Nicolas (cello), and Shahzad Ismaily (bass and keyboards). Instrumentally there is no shortage of variety and virtuosity.

These features provide an analogue juxtaposition to the digital frameworks of each piece. Any individual mention would be doing a disservice to the number of standout moments but having said that, Nate Wooley's coked-out trumpet solo on “Unyielding Daydream Yielding” is a particular showstopper.

“I suppose I would call it serious. It’s undoubtedly sincere,” writes Ches. There’s a separation between the two - it’s earnest, not pretentious. But yet, there are some funny moments. On “Disco Inferred” for example, the primitive programmed drum sounds can induce laughter at some points, with their relentlessly cute simplicity (and *that* unfeasibly snappy snare). But Ches is a funny dude, and giggling is always allowed, on an album that celebrates the feeling of a joy so visceral, and so physical that there is nothing left to do but spontaneously combust into a crackling, cackling, cloud of dust.

Don't miss Ches Smith’s “Laugh Ash Listening Party" (Feb 1)