# CD review: Lunar Octet – Convergence 2021: Video, CD cover

- Link: https://jazzblues.eu/2021/05/10/cd-review-lunar-octet-convergence-2021-video-cd-cover/
- Published: 2021-05-10T00:23:20+01:00
- Author: https://JazzBlues.EU

**A decades-long institution in Ann Arbor, home of the University of Michigan, and
also the nearby Metro Detroit area, the Lunar Octet is back with a potent collection
of originals inspired by such wide-ranging influences as mambo, samba, funk, Afrobeat
and jazz on Convergence. **

The title itself suggests a confluence of rhythms and styles, and that is precisely
what this band of multi-directional musicians has been doing since meeting 36 years
ago in Ann Arbor and subsequently recording their 1994 debut, Highway Fun for Schoolkids
Records. Reuniting in the studio 25 years later, the members of the Lunar Octet 
documented their collective growth while remaining committed to their original mission
on Convergence, scheduled for a May 7th release on Summit Records.

From the percolating salsa groove of the infectious opener, “Norm’s Nambo,” to the
swinging big band flavored chart, “Toote Suite,” the Brazilian music influenced “
Mambossa,” the rhythmically charged “Subway Tension”, and the entrancing Afrobeat
numbers “Dancin’ in the Doghouse” and “Heart of Congatar,” the Lunar Octet presents
a compelling world view of sound. Add the churning “Samba Diabolico,” the buoyantly
swinging “Crusin’” (think Neal Hefti arrangements for the mid ’50s Count Basie band),
the alluring tango “Until I Find Words” (an clarinet feature) and the rollicking,
Brazilian flavored batucada “Samba Over Easy” (reminiscent of Airto Moreira’s “Tombo
in 7/4”), and you’ve got a veritable United Nations of sound that you can also dance
to.

“The Lunar Octet is like a diamond,” said percussionist and co-founding member Aron
Kaufman, called “the soul of the band” by his colleagues. “We’re all different facets
of the diamond expressing the singularity of our musical mission. And it’s not about
our technique, in terms of us being monster chops players who want to show off how
amazing we are. Really, it’s the sum of the parts that brings hope and joy and love
to people who come to see us. I believe with all my heart and soul that as artists,
if we can lift people’s spirits by showing a love and celebration of the different
world musical cultures that we bring to life in our particular special way, we’re
bringing some light to the darkness.”

Regarding the group’s long hiatus and recent return with Convergence, Krosnick said,“
The early ’90s was the peak time for the band, when we were on national radio broadcasts
and playing at major festivals. But then band members moved away. I took a job teaching
at Ohio State, Steve Hiltner moved to North Carolina, others moved elsewhere. So
we lost momentum. But we rediscovered ourselves five years ago and said, “Hey, this
music’s cool, let’s keep doing this.” That reunion came in 2014 with a performance
at the Kerrytown Concert House in Ann Arbor. And regular performances have followed
ever since. “It’s been fun to come back with live shows,” said Krosnick. “And now
with the release of Convergence, we’re feeling like we can create some buzz about
the band and do some touring.”

Krosnick explained that the band’s initial Afrobeat influence came in large part
from original bassist Dan Ladizinsky, who names King Sunny Ade as a primary influence.
As Jon recalls, “It was literally a garage band in the beginning. Guys were getting
together and just trying to groove. The more intricate compositions only kicked 
in years later when Steve Hiltner joined the band. He brought in some of the more
highly orchestrated stuff that’s full of complexities and twists and surprises and
unexpected bridges. But it was quite the opposite in the beginning. The original
version of the band had no piano player and two bass players and a guitar player,
so there was a deep African groove thing happening, like a jam band.”

“I sort of ruined it for the faction of the group that really loved straight-ahead
grooves and simple melodic stuff,” said Hiltner. “I started bringing in pieces that
were more than just stock 32 bar tunes that could be in the Real Book. I bring a
classical element to the band in the motivic development in my compositions, which
you can hear on ‘Samba Diabolico,’ for instance.” Of the seemingly disparate musical
elements coming together on Convergence, Hiltner, a trained botanist added: “Nature
is just miraculous in the way it breaks everything down into constituent parts and
then builds something new. I think of the creative process like that. It’s like 
composting: bringing lots of different elements together so something new comes 
out of the blend.”

After such a long hiatus from recording, Kaufman is thrilled about the release of
the Lunar Octet’s Convergence. “It shows the longevity of our friendships and music
all intertwined,” he said. “And music really is an expression of our connections
to each other. What we’re doing reflects years and years of building trust and relationships.”
He added, “I’m always open to new possibilities. That’s what’s great about the Lunar
Octet. Over and over again, one of us has come up with an idea that has musical 
integrity and a quality that is inspiring and that we are excited about. That’s 
what makes our music so interesting and varied. And we always support each other
to bring those kinds of tunes out. Openness of sharing is an important part of the
band. All of the many different musical qualities that we all bring to the table
help form a nice balance.”

 1.  Norm’s Mambo
 2.  Toote Sweet
 3.  Oye
 4.  Subway Tension
 5.  Mambossa
 6.  Flugel Tune
 7.  Dancin’ in the Doghouse
 8.  Elephants
 9.  Samba Diabolico
 10. Crusin’
 11. Heart of Congatar
 12. Until I Find the Words
 13. Olduvai Gorge
 14. Samba Over Easy

**Brandon Cooper — trumpet, flugelhorn, vocal (track 14)**
 **Stephen Hiltner – 
alto saxophone, Bb clarinet (track 12)** **Paul Vornhagen — tenor saxophone, soprano
saxophone, alto clarinet (track 4)** **Sam Clark – guitar** **Keaton Royer – piano****
Jeff Dalton — acoustic bass, electric bass, vocal (track 14)** **Jon Krosnick — 
drums** **Aron Kaufman — congas, bongos, vocal (tracks 3, 14)** **Olman Piedra —
timbales, Latin percussion**

![Amazon.com: Convergence: Music](https://i0.wp.com/images-na.ssl-images-amazon.
com/images/I/61wLN3z7sRS._SY1000_.jpg?resize=640%2C640&ssl=1)

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