The music of Skerik's Syncopated Taint Septet, all group originals, seems simple on the surface but rewards deeper digging. The rhythms always groove and this sounds like dance music, but then how does one explain the overcrowded ensembles (which sometimes feature several horns soloing together), the episodic nature of the performances with its abrupt changes, and the constant unpredictability?

The group, originally formed in Seattle in 2002, consists of trumpeter Dave Carter, trombonist Steve Moore (who also doubles on a Wurlitzer), Skerik on tenor, Hans Teuber alternating between flute and alto, Craig Flory on clarinet and baritone sax, organist Joe Doria and drummer John Wicks. These are versatile players who can adapt to a wide variety of styles, while infusing the music with wit, color and a bit of craziness.

Over eccentric rhythms which sometimes hint at hip hop and at other times at New Orleans brass band music, the Septet throws in all types of styles and idioms. Ranging from Charles Mingus to the Dirty Dozen Brass Band, from soul jazz of the late 1960s to funk, 1970s rockish fusion, and the more creative side of hip hop with occasional references to straight ahead jazz, this is quite a gumbo of unusual elements.

The same can be said for the song titles. Some are political, including "Go to Hell, Mr. Bush" and "Fry His Ass," while others make fun of the group's name: "Syncopated the Taint," "Irritaint" and "Daddy Won't Taint Bye-Bye."

A play-by-play of the music is largely impossible but there are some highlights that should be pointed out. The constantly changing rhythms of the opening "The Third Rail" set the mood for the disc. "Go to Hell, Mr. Bush" (catchy title!) has a complex pattern almost used as a tape loop, punctuated by occasional outbursts. "Syncopated the Taint" features group improvising over a one-chord vamp, with the playing being more interesting than the song itself.

Skerik gets to stretch out on the 10-minute "Fry His Ass," ranging from Eddie Harris to Albert Ayler and not overlooking humor. Clarinetist Craig Flory also gets a solid solo before the last part of the piece speeds up and gets free and crazy. "Don't Wanna" is a whimsical and slightly demented waltz, while "Song For Bad" is reminiscent of "Mercy, Mercy, Mercy" in the way it builds up and keeps on returning to the melody before cooling down again.

"Taming the Shrew" is a feature for trombonist Steve Moore. The very funky "Irritaint" has some heated tenor. "Summer Pudding" shows how New Orleans parade rhythms can be utilized in a 1960s funk setting, while "Daddy Won't Taint Bye-Bye" is as indescribable in its unusual sounds, constant switching of moods and grooves, and odd mixtures as anything on the disc, before it peters out inconclusively.

When it comes to creativity, Skerik's Syncopated Taint Septet's rates a nine or maybe even a 10. However the compositions are often not that compelling or distinctive, sometimes just meandering in stretches before they regain their footing and purpose. This is certainly an intriguing disc and one looks forward to the band's future projects, but it falls short of essential.

Sound
Considering the complexity of the music, the wide mixture of styles and the use of electronics, it is surprising to realize that this entire CD was recorded in one

day. At the Sound Factory in Los Angeles, the group utilized analog tape, kept overdubbing and editing to a minimum, and simply played. Many times one would swear that the music was a result of substantial editing but instead the band was playing live and simply switched directions together at the same split-second. Considering all of that, it is impressive that the balance is excellent and that the group's wide range of dynamics is respected.