Gaia Wilmer & Ra Kalam Bob Moses, Dancing with Elephants Review

By Jeff Becker

Gaia Wilmer and Ra Kalam Bob Moses’ collaboration, Dancing with Elephants, emerges from a strikingly creative concept: Wilmer composed music over a selection of Moses’ pre-recorded solo percussion improvisations, or “sonic beds.” This collaborative approach required Wilmer to chart her compositions down to align tightly with Moses’ world jazz grooves while setting the space for group and individual improvisational conversations. The result is an album that has spontaneity and meticulous arrangement; an ideal balance of freedom and form.

The album opens with its title track, “Dancing with Elephants,” where pianist Leo Genovese sets a lush and contemplative tone. The ensemble flows into a pseudo-Afro-Cuban groove, as Yulia Musayelyan on flute, Song Yi Jeon on voice, Leandro Pellegrino on electric guitar, and a five-saxophone section—featuring Gaia Wilmer (alto), Daniele Germani (alto), Gustavo D’Amico (soprano), George Garzone (tenor), and Neta Raanan (tenor)—interact in a dance of timbres and counterpoint textures. This first piece reflects the project’s balance of structured composition in dialogue with the vitality of spontaneity.

The intricate ensemble interplay on “Leaving with the Herd” is an example of how the ensemble creates music from the written . The unique ensemble allows for a hypnotic buzzing color construction, where each of the four saxophonists contributes to the collective, creating a dynamic sonic sound and energy. Moses’ drums, cymbals, and gong provide an hypnotic groove. Guitarist Leandro Pellegrino adds subtle harmonic and textural support, contributing to the track’s layered richness without stepping into a soloistic spotlight.

“Turning the Tide” highlights the powerful emotional capabilities of the ensemble. Moses’ gong textures provide a spiritual underpinning, and Yulia Musayelyan’s expressive flute brings a world music emotional focal point, her playing nuanced and moving with the many textures of the ensemble.

In the intimacy of “Finding Water,” the pairing of Genovese’s piano and George Garzone’s tenor saxophone evokes a profound sense of soulful reflection reminiscent of the late-period of modal jazz expressiveness. Their interaction exemplifies deep listening and the subtle communication crucial to successful improvisation to a rhythmic bed of rich accents.

The lively and joyous interplay of vocals and saxophones on “When They Meet” demonstrates the group’s collective joy. Song Yi Jeon’s vocal expressions effortlessly dance around the saxophonists’ agile phrases. Her use of vocal sounds and rhythmic sounds is just as important as her sustained notes. The performances captures the essence of playful spontaneity of group improvisation that drives much of this project. The transition between the written and improvised is a big part of the listening journey.

With “Blue Desert,” Wilmer’s willingness to entrust Jeon, Garzone, and Genovese with navigating Moses’ tempo-less textures is a dynamic expression of emotion. This piece is a exploration of musical freedom, allowing each performer’s personality to shine through unrestrained. The written sections are wonderful performed and structured.

The evocative “Jellyfish Lake,” featuring Musayelyan’s layered flutes, brings forth Moses’ shamanic rhythms, creating a mesmerizing, hypnotic soundscape. Moses’ melodies inspire Wilmer’s colorful melodies and counterpoint. Next, “Whales Part to Play” places Gustavo D’Amico’s soprano saxophone atop Moses’ rhythmic and meditative hand-drumming, emphasizing melody as mantra. Her opening expression is a tribal expression of sound and rhythms on the saxophone.

“Chase Machine” masterfully concludes the program, weaving together the album’s various thematic elements. Over Moses’ intricate 15-beat rhythmic foundation, Garzone’s tenor saxophone roars expressively, supported by repetitive, chant-like melodies from Jeon and Musayelyan. This track embodies the album’s core strengths of carefully structured arrangements that encourage individual creativity and group cohesion through Wilmer’s writing.

The alternate take of “Finding Water” provides an insightful contrast, offering listeners a chance to appreciate the interpretative nuances possible within improvised music.

Overall, Dancing with Elephants exemplifies a creative ideal of jazz improvisation and ensemble writing. Wilmer’s careful orchestration draws out the depth of Moses’ richly textured rhythmic beds, creating an environment where deep listening and emotional interplay turn each piece into a vivid musical conversation.