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Brother’s Keeper [Shanachie]

★★★

California saxophonist Karl Denson grew up listening to R&B, funk, jazz, punk rock, pop and soul, in the process becoming convinced that forming a hybrid based on all of these styles was as natural as breathing the air. It was the man’s ability to make like Maceo Parker in James Brown’s band one minute and Cannonball Adderley blasting out juke joint jazz the next that brought him to the attention of a young Lenny Kravitz. Denson became a core member of Kravitz’s early touring band, and lent his considerable talents to the albums “Let Love Rule” and “Mama Said,” both of which convincingly announced the rock/soul/funk paradigm of Kravitz to the public.

After working with Miles Davis alums Jack De Johnette and Dave Holland, Denson formed the electronica/funk outfit the Greyboy Allstars and, simultaneously, Karl Denson’s Tiny Universe. That outfit, known to Buffalo audiences after a torrid 2005 show as part of the Thursday at the Square series, tied together the various pieces of Denson’s musical personality, took it down to New Orleans, and came back as a gumbo-soaked dance-funk ensemble with one foot firmly in the jam-band camp.

“Brother’s Keeper” comes the closest of Denson’s recorded works to capturing the irresistible groove at the heart of the band’s live shows. The instrumental dexterity of Denson the sax player is amply displayed, and a list of guest contributors stretches as long as the average arm—bassist Meshell Ndegeocello and Black Crowes/Ben Harper guitarist Marc Ford are only two of the many noteworthy musical advocates. “Brother’s Keeper” is a song-oriented collection, though, and Denson seems most concerned with spreading his own personal philosophy — we’re all chained to the earth, and we’ve all gotta pull, essentially—with the aid of music that demands dancing.

“Just Got Paid” reveals deep familiarity with the Funky Me- ters; the title song sounds like something that could have been on Kravitz’s “Mama Said.” “Shake It Out” is straight-up ’70s funk, though it does offer a nod to Motown, a la Marvin Gaye. “Where it Counts” butters its bread with a healthy dollop of James Brown.

Together, these pieces comprise some seriously gnarly, raunchy and soulful modern funk.

(Denson plays the Tralf Music Hall on Sept. 12.)

—Jeff Miers

Karl Denson’s Tiny Universe

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