Cornetist Taylor Ho Bynum's previous album, Enter The Plus Tet, was a fantastic example of the heights that can be reached in an unmistakably modern big band. On The Ambiguity Manifesto, Ho Bynum's compositional brilliance shines again in a band mostly composed of members of his previous "Plus Tet": Ingrid Laubrock (tenor/soprano sax), Jim Hobbs (alto sax), Bill Lowe (trombone), Mary Halvorson (guitar), Tomeka Reid (cello), Ken Filiano (bass), Tomas Fujiwara (drums) and new addition Stomu Takeishi (electric bass). Each piece here is a movement of a grand composition that runs for just over an hour. One of the first things that may register after a listen to The Ambiguity Manifesto is its intriguing duality. "Enter Ally" and "Ally Enter" and "Real/Unreal (For Ursula K. Le Guin)" and "Unreal/Real (For Old Music) are all interesting distorted reflections of one another.
Ho Bynum is known for the nimble, at times scratchy and abrasive tone of his cornet, but doesn't mean that he doesn't know how to just swing. "Neither When Nor Where" opens the album with a catchy 5-note theme and carefully balances the inviting groove of the horns with the sonic explorations of Halvorson and Reid. Later on, the mood completely changes in the darkness of "Real/Unreal (For Ursula K. Le Guin)". Eerie horn and cello textures are met with dexterous percussion. Eventually Ho Bynum introduces a melancholic motif of mesmerizing beauty. More themes are introduced as the band plays on, with Halvorson elaborating on the second melodic theme as Fujiwara pushes the pace of the band. The song is a great example of the skillful dynamic nature of Ho Bynum's pieces - it begins downtrodden and ends in euphoria.
Another interesting turn of sound can be found in the next song, "(G)host(aa/ab)", which begins with cavernous electronic waves. When the horns enter, the come in raging with a fury that combines with the rest of the band to create an entrancing cacophony. The back end of the track is closed out with a focus on Laubrock and Halvorson, who both deliver incredible solos. This is followed by "Enter (G) Neither", which presents a very different environment for about half of its runtime. The conversations between Laubrock and Reid stand out during the first portion of "Enter (G) Neither", which is filled with collective free improvisation. The first part of the song is in many ways the polar opposite of the smooth nature of its closing section, which reprises the swing of "Neither When Nor Where".
The Ambiguity Manifesto is an album that is sure to please fans of Ho Bynum's past work. Compositionally, it's a distinct but natural direction to take after Enter The Plus Tet. The band has a deep connection and the improvisation is top-notch. The Ambiguity Manifesto is high-quality adventurous avant-garde music.
Personnel: Taylor Ho Bynum: cornet/flugelhorn, Ingrid Laubrock: tenor and soprano saxophones, Jim Hobbs: alto saxophone, Bill Lowe: trombone; Mary Halvorson: guitar, Tomeka Reid: cello, Stomu Takeishi: electric bass, Ken Filiano: acoustic bass/electronics, Tomas Fujiwara: drums
