The last four years have brought dramatic changes for Snarky Puppy
After a decade of relentless touring and recording in all but complete obscurity, the Texas-bred/New York-based quasi-collective suddenly found itself held up by the press and public as one of the major figures in the jazz world. But as the category names for all three of the band’s Grammy® awards would indicate (Best R&B Performance in 2014, Best Contemporary Instrumental Album in 2016 and 2017), Snarky Puppy isn’t exactly a jazz band. It’s not a fusion band, and it’s definitely not a jam band. It’s probably best to take Nate Chinen of the New York Times’ advice, as stated in an online discussion about the group, to “take them for what they are, rather than judge them for what they’re not.”
Fresh off of the heels of its tenth album, Family Dinner – Volume Two, the band is returning to its roots as an instrumental ensemble with a brand new collection of nine original songs. A departure from its signature live-from-the-studio film and audio style, the band spent a week in the middle of a pecan orchard at the remote Sonic Ranch Studios in Tornillo, Texas, just a five minute walk from the Mexican border. With no cameras, no audience, and the opportunity to overdub, they have crafted an album much darker and moodier than any before it. The typical flash and bombastic moments that Snarky Puppy is known for have been replaced by a more patient, restrained, and sonically creative approach to both composition and performance. The melodies are intricate, the counterpoint is fluid, and groove reigns supreme in mixes that are bass and percussion-heavy.