While writing this review of Him's Point of Departure, I'm going to refrain from mentioning the name of a certain trumpeter from East St. Louis who harbored a deep suspicion of all white people that weren't named Bill Evans. Though this trumpeter-- this guy who used to tool around New York City in a yellow Ferrari with Cicely Tyson in the passenger seat-- made music in the years between 1968 and 1975 that profoundly influenced the sound of Doug Scharin's HiM, his name is tossed out too frequently and too haphazardly to have any clear meaning at this time. So, we will not mention him today.

It's not going to be easy, though. When you get down to it, how much early '70s fusion are people really listening to? Herbie Hancock, sure, he was vital everywhere from Takin' Off up through Future Shock. People have some Herbie records from the period lying around. But then what? Weather Report? Jaco's solo albums? Return to Forever? Prime Time? How many are so intrigued with early '70s fusion that they've tracked down the best of these?

Few, and I bet most are over 40. But maybe we can learn something from our elders. Maybe if we look hard enough we can find a variety of albums as great as Sextant, A Tribute to Jack Johnson or Get Up with It, the latter two, of course, being made by that unnameable trumpeter who, for five straight years, did nothing but snort cocaine and have sex with scores of women, sometimes several simultaneously. It might take some digging, but we could do it. In the meantime, we can just listen to HiM.

Our Point of Departure further refines HiM's sound, distilling it to its traditional essence. Gone is the vibraphone that gave a Windy City post-something air to the last year's Sworn Eyes. In its place is the most traditionally "jazz" of all instruments: the tenor saxophone (played with a somber sense of duty by the Sorts' Carlo Cennamo.) The studio manipulation and electronic touches have been toned down. Though this album is the result of extensive overdubbing and editing-- bassist Fred Erskine (formerly of June of 44) also plays trumpet, for example-- it conversely has more of a live feel to it, as if the five people involved were looking into each other's faces while they played.

This is solid, workman-like electronic jazz with a few qualities that make it special. The command of rhythm is what most sets it apart. Erskine's rapid, pulsing bass ostinatos propel the music forward with a thrust matched only by Michael Henderson, bassist for that one trumpeter dude some 25 years ago. And pairing this insanely funky bottom with Doug Scharin's relentlessly inventive drumming makes for a kind of polyrhythmic heaven. And as four of these six tracks consist of driving, upbeat jazz/funk, there are many opportunities to wallow in the beats.

The two stabs at moody atmosphere, however, aren't quite as successful. Both "Third Wish" and "Weary Not Beaten" lack the melodic foundation necessary when one forgoes studio trickery, and are consequently far less evocative than a track like Sworn Eyes' "Trace Elements." Still, with the jaw- dropping rhythmic virtuosity here, this rates as a better record overall, and makes me look forward to whatever HiM comes up with next. Who cares if it sounds like M*les D*vis?

-Mark Richard-San