Jamie Masefield redefines the mandolin’s role in contemporary music. With his band, the Jazz Mandolin Project, he gets funky, rocks hard and ventures into free spaces in the course of this intriguing album.

Only “Ode to Dark Eyes” approaches the expected European folk vibe, and it’s barely a minute long. Gil Goldstein’s accordion is wistful on that tune but nearly flies into orbit on the title track as he blasts through speedy lines over Danton Boller’s powerful bass riff, then settles into tense counterpoint with Masefield.

The mandolinist frequently uses effects pedals to alter his instrument’s sounds, turning the title track into an amped-ed up St Vitus’ Dance of chorus. On the avant “Freddy” the heavily overdriven mandolin rides on a disturbingly detuned two-note vamp, while more traditional tones dominate on other tracks.

Masefield and his bandmates combine serious-minded creativity with a broad stylistic palette and wry humor. The percussionists play a subtle but essential role in seasoning this savory musical stew. Devices such as taut repetitions (Pointilllism”) and reference of other sources (the sneaky “Ipanema’s Sister) combine to hold the listener’s attention. Interests levels drops at a few points- “There’s A Pipe In The Cellar” becomes grating-but no experiment is without its rough edges.

The Jazz Mandolin Project’s 21st –century fusion points the way ahead to a deeper blending of genres and fresh ideas.

Todd Jenkins