Drawing us in with cerebral percussion motifs, Ray’s Music Exchange opens A Live Family Rayunion 2025 (alongside members of Ernie Johnson from Detroit) with a track called Furley’s Comet, as we experience psychedelic notions akin to a DMT trip. The opus expands into a sublime and dimensional acid-jazz energy with Brad Myers on guitar, Michael Mavridoglou performing trumpet and keys, Nick Blasky on bass, Matthew Hawkins delivering percussion, and Jason Smart sharing his skill on drums.
The result is an evocative, trippy and cinematic experience, inspired by Ray’s late-1990s Midwest improvisational roots with progressive elements. We could imagine Furley’s Comet being featured in a movie like Spaceballs, or Sin City. It has a smokey jazz club set in the future vibe. The instrumentation is masterful, unique and captivating, whilst the narrative arc of the track takes us through cosmic ebbs and flows, aligned with the title of the track itself. Just when we think it is about to finish, the track transitions with an epic guitar solo and builds to a momentous finale with a cheering crowd.
Next up is Quartalchondriac 12-Tone Jam which opens with a brooding bass performance, expanding with spacey nuances, eventually unveiling a dramatic trumpet which taps into a more mysterious dimension. It feels like a scene from The Pink Panther, the tempo shifts are genius and we are invited into a techy, 8-bit moment which cements the progressive elements of the record. As much as the timeless jazz comes through, there is an undeniable astral-futurism that manifests. The build of the track is trippy and even has a raw, rockier edge come through, though this switches out to a more zen moment allowing the horns to really shine through. The haunting arpeggios lead us through to more syncopated drama and an existential build with a full-circle moment for the finale.
For some context, the album was recorded live at Cincinnati’s historic Woodward Theater by Nicholas Radina with mixing and mastering by Ashley Shepherd at Audiogrotto. This rawness really transmutes and gives the album an authenticity that cannot be replicated.
We Like You includes an ad-lib of “let’s get weird”, which really cements the charming energy of the track. It’s subversive yet refined at the same time. The creators are masters of their art forms and this comes to life, but at the same time there is a musical sentimentality that evokes emotion within us, reminding us of the true essence of live music. The operatic chants are almost haunting, whilst the stripped back production allows for introspection and comedy.
This is a great moment to share that the album also features saxophonist Josh Kline and trombonist Spencer Merk, with keyboardist Jackson Steiger and horn players Colin Thompson, Wayne Kilgard, Jonathan Wiseman from Ernie Johnson from Detroit. All in all the creators come together to deliver something truly awe-inspiring.
Peruvius is a super cinematic experience that really evokes the 80s and 90s nostalgia that runs through the record, whilst the microtonal performances give the track a spiritual edge. The meditative switch-up mid-way through is intelligently delivered and the extended tempo breakdown with industrial detailing gives the track an almost cyber edge, once again cementing that otherworldly quality, in line with the title of the track and wider concept of the album.
This brings us to Dancing About Architechture which evokes a more romantic energy. The instrumentation intertwines cohesively and once again builds with drama and cinematic allure. The crowd reactions are a nice touch, showing us that human engagement is real and reminding us how true live musicianship deserves support in this day and age. There is also a deeply European almost ska-punk resonance that manifests here with the playful horns.
Finally, we experience U ‘N’ I, which does indeed feel like an anthem of unity, tying together all of the components and moods of the record thus far. There is a timelessness at play here which is juxtaposed by the return of the more celestial energy that we experienced at the top of the album. It’s cohesive, emotionally astute and intelligently crafted. The final moments naturally include thanks and crowd appreciation.
The album is available on all platforms including Spotify and Bandcamp, and the physical vinyl release features a limited run of 300 hand-numbered, hand-stamped jackets with concert photography by Rob O’Brien and liner notes to accompany the 180 gram deluxe vinyl.