Dez Reviews Bela Fleck & the Flecktones's Rocket Science, 2011

Back in the early and mid-1990's, some of my friends and I were avid Flecktone fans. It started with a show at a small club in Houston in the summer of 1992. It was one of those magical shows that I can still see (and hear) vividly, and one that we will never forget. Goosebump stuff. This was the original line-up of the Flecktones, featuring banjo wunderkind Bela Fleck, bass virtuoso Victor Wooten, harmonica/piano master Howard Levy and Futureman on the drumitar (basically, an overhyped electric drum kit). Futureman aside, this was a band featuring musicians without peers on their respective instruments, and they had an incredible rapport. Everything just went together right. In those days when we had few responsibilities, it was not uncommon for us to drive across state lines just to catch the closest Flecktones show. They were that good. Kyle and I even slept on the floor of the DFW airport one night in relation to a Flecktones pilgrimage. This line-up recorded three records in the 1990's (two outstanding, one mediocre), and then Levy left for undisclosed reasons. The Flecktones continued on, but something was lost. They were a trio for awhile playing with various special guests, then saxophonist Jeff Coffin joined as a permanent member for a series of mediocre albums (not Coffin's fault, but he just didn't really add all that much, honestly). The playing was still superlative, but something was missing.

Well, Howard Levy has returned (supposedly for good) to the line-up, and a new, 4th Flecktones record featuring the original members has been released. I have not been enthusiastic about Fleck and his cohorts for some time, so my expectations for this release were, shall we say, cautious optimism. My first full listen through the record did not sweep me off my feet. But after repeated listenings, I hear some definite moments of greatness. This is complex stuff that requires closer attention.


ABOVE: The new/old Flecktones. Howard, where is your goofy mustache?

First, Howard's harp is all over this record, as he takes the bulk of the solos. His skills are still intact, just check out his jawdropping solo in the opener, "Gravity Lane." This is an old school Flecktones record. Gone are the gimmicks of recent years, the world music flavorings, the experimentation for experimentation's sake. In tone, it is closest to their debut. This is, more than anything else, a jazz record. Not many funk jams or melodic songs, it is mostly jazz improvisation and bold, complex playing. Many fans listen to these guys primarily for Victor Wooten's bass playing, he has probably become the most popular member of this band in the music community, even more than Fleck himself. Wooten doesn't have any showcases here, but if you listen closely to the bass, he will stun you throughout, but it is not as in your face as it often is. (Check out his out of this world playing near the end of "Sweet Pomegranates," and you can get your Wooten fix).


ABOVE: Longtime fans will appreciate the album cover for Rocket Science. All of the Howard-era album covers feature cartoon drawings like this one, and each one references the previous records. As you can see here, if you look closely in the background, there is the jumping horse of the debut, the cosmic hippo of their sophomore effort, and the UFO TOFU sign of the third record. Also, this features the horse in the rocket that was in the background of the debut's cover. A sign of starting over, perhaps?

If I have a complaint, it is that several of these songs are hard to distinguish from each other (honestly, I feel the same about their debut record, as great as it is). They can occasionally veer into the realm of either jazz noodling (albeit of the highest order) or in a few instances, get close to mellow, smooth jazz territory ("Joyful Spring," "Storm Warning"). Oddly enough, the best songs are backloaded on the second half. The eight minute tour de force "Falani" shows why this original line-up is so good, with multiple sections, shifting tempos, parts for each member to step out and impress while playing off each other instinctively. Fleck's solo near the end is especially powerful. Howard Levy's Eastern-tinged composition "Sweet Pomegranates" is the highlight of the record, a thrilling, dizzy tune with an off kilter melody and outstanding playing from all members. The quiet "Like Water" is also wonderful. It is one of the simplest songs here, but it also has a lovely melody to it and does not veer into mere noodling. The closer "Bottle Rocket" has a funky groove, and features some of Wooten's funkiest playing of the record.

Fans of the original quartet have reason to celebrate with this return. The group is rejuvenated, has a serious focus again, and they are playing some challenging music. It has its flaws (but even their best records are not without flaws). Where does this fall within the Howard-era discography? It is definitely better than UFO TOFU, it is close to equal to Bela Fleck & the Flecktones, but does not quite match Flight of the Cosmic Hippo, which still remains their greatest studio effort. But their records, in many respects, are beside the point. Keep your eye out for a tour, because Bela Fleck & the Flecktones have become, once again, a must see live band with Howard Levy back in the fold. Welcome back, Howard.

***1/2 out of *****