Taborn's 2001 solo album Light Made Lighter, recorded for Thirsty Ear's Blue Series, was a trio date with bassist Chris Lightcap and drummer Gerald Cleaver; it spotlighted Taborn's piano-playing. His latest solo release, Junk Magic, focuses on electronics. Joined by violist Mat Maneri, tenor saxophonist Aaron Stewart and drummer James King, Taborn creates complex yet supple arrangements that combine elements of electronica, trip hop and jazz fusion. Programmed beats and samples supplied by Taborn, as well as Maneri's microtonal playing, add experimental textures that give Junk Magic a highly varied sonic palette.

The title track begins with an undulating passage of overlapping melodies. A more beat-focused texture gradually emerges, accompanied by a plinking synth ostinato. The victory of this mechanistic construct seems complete, as we are never treated to a full return of the gentler introductory material; instead, the electronic music slows down and dies (as if a power cord were pulled somewhere in the studio). This is immediately succeeded by "Mystero", a piece that seems to combine instrumental and programmed elements in easier coexistence. Interestingly, we still hear a shadow of "Junk Magic"'s plinking texture in the background. Both Stewart and Maneri adapt their playing to these groove oriented circumstances; they repeat themes in an additive way in order to counter the layered, programmed rhythms. Both also play shorter phrases in their solos than they would in a more traditional jazz context. Taborn's synth solo in the middle of the tune, however, is a babble of runs and arpeggios.

"Shining Through" is a haunting ballad that features a duet between Maneri and Taborn. The background is filled with a wide variety of synthetic textures, creating a wash of sound that stands in contrast to the acoustic instruments. Presenting a jazz tune, which this ballad really is, in this otherworldly context makes for a most intriguing (and effectively executed) juxtaposition. "Stalagmite", on the other hand, is a minute-long slice of trip hop. Heavy on the drums, both real and programmed, with a funky sax solo to boot, this zesty number is over almost before it settles in. Most exploratory is the album's final cut, "The Golden Age", an eleven-minute opus filled with ringing harmonies, held notes and synthetic drones, electronic noise interruptions, microtones and double stops from Maneri and soaring melodies from Stewart.

All in all, Junk Magic is an inspiring album that demonstrates several legitimate ways forward for avant jazz and electronica. Bravo!