Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Carlos Niño & Friends: More Energy Fields, Current (International Anthem)

A review of the latest release from the percussionist, producer, and DJ

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Carlos Niño & Friends: More Energy Fields, Current
The cover of More Energy Fields, Current by Carlos Niño.

Have you ever listened to a section of a song, performance, or recording and thought, “I wish that went on forever (or longer at least)?” That is the dynamic at play in More Energy Fields, Current, the new album by percussionist, producer, and DJ Carlos Niño and the ninth with his “& Friends” rotating collective. 

The nature of this rotation means each record can vary wildly based on the collaborators and Niño’s vision as producer; he functions almost as a curator of sounds, moods and, yes, energies. Take the 2019 release Bliss on Dear Oneness: Industrial electronic licks meld with untethered free-jazz ideas to make something of a love child between Sun Ra and The Matrix. More Energy Fields, Current channels the enveloping ambience of Niño’s apparent mentor Iasos, one of the founders of New Age, but heightened by the melodic design and harmonic richness of modern jazz. Those chops shine clear on pieces such as “Salon Winds,” setting a Yusef Lateef-like flute attack (courtesy of Aaron Shaw) to the ambient bedrock of Laraaji.

The opening and closing tracks—“Pleasewakeupalittlefaster, please…” and “Please, wake up”—feature saxophonist Shabaka Hutchings whispering a gentle tenor melody over breezy synthesizers, quite the departure from his inferno delivery with Sons of Kemet or the Ancestors (which is likely part of the intent). Pianist Jamael Dean lays down chords like a four-poster featherbed, sturdy yet luxurious. The music doesn’t start so much as blossom and doesn’t end so much as transform. Dean and Hutchings, like many musicians on the record, play as though they’re mulling over their ideas in real time, constantly reiterating as they constantly re-examine what they say. It’s a sort of looping effect that’s also heard on pieces like “Nightswimming,” “Thanking the Earth,” and “Togetherness”: Each loop passes the ears and invites you further in, until you want to be totally immersed in the music.

Learn more about More Energy Fields, Current on Amazon!


Jackson Sinnenberg

Jackson Sinnenberg is a broadcast journalist and writer based in Washington, D.C. He serves as an editor for Capitalbop, a non-profit that focuses on presenting live jazz and covering the D.C. jazz scene through grassroots journalism. He’s covered the city’s local jazz scene since 2015 but has covered national and international jazz, rock and pop artists for a variety of publications. He graduated from Georgetown in 2015 with a degree in American Musical Culture and will gladly argue why Kendrick Lamar is a jazz musician. Follow him @sinnenbergmusic.