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		Jazz Articles » Album Review » Donny McCaslin: Lullaby for the Lost	

      

                
      
            
      
                                												
								
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        	Donny McCaslin: Lullaby for the Lost        
      
                
      
            				
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                    Donny McCaslin: Lullaby for the Lost
					
                    
                
      
                        									Saxophonist Donny McCaslin
      Donny McCaslin
      saxophone, tenor
      b.1966
      "
data-original-title="" title="">Donny McCaslin and his band's collaboration on David Bowie
      David Bowie
      vocals
      1947 - 2016
      "
data-original-title="" title="">David Bowie's final album Blackstar (ISO Records, 2016) marked a pivotal moment in McCaslin's career. Following Bowie's death just two days after the album's release, McCaslin transitioned from being a well-respected jazz musician to achieving international recognition. His band's innovative contributions helped make Bowie's final album a critically acclaimed late-career highlight. 

      Since then, McCaslin's brand of innovative, contemporary jazz fusion has continued breaking through barriers to define a distinctive sound that draws on electronica, rock, and sophisticated production techniques. He is supported in this endeavor by a rotating cast of musicians, including key Blackstar personnel keyboardist Jason Lindner
      Jason Lindner
      keyboards
      "
data-original-title="" title="">Jason Lindner       and bassist Tim Lefebvre
      Tim Lefebvre
      bass
      b.1968
      "
data-original-title="" title="">Tim Lefebvre       (who also serves as producer), along with guitarist Ben Monder
      Ben Monder
      guitar
      b.1962
      "
data-original-title="" title="">Ben Monder      , bassist Jonathan Maron
      Jonathan Maron
      bass, electric
      "
data-original-title="" title="">Jonathan Maron       and drummers Zach Danziger
      Zach Danziger
      drums
      "
data-original-title="" title="">Zach Danziger       and Nate Wood
      Nate Wood
      drums
      b.1979
      "
data-original-title="" title="">Nate Wood      . 

      McCaslin channels the raw energy of live performance to focus deep-seated power throughout the album. As he explains, "The balance of expressing passion, anger, and the wonder of beauty, while striving for oneness with the band has led to this moment." One inspiration for this approach was Neil Young
      Neil Young
      guitar
      b.1945
      "
data-original-title="" title="">Neil Young      's seminal 1989 Saturday Night Live performance of "Rockin' in the Free World," which McCaslin describes as "an iconic moment in music history." That electrifying energy surfaces powerfully on "Blond Crush," where Danziger's drums power the hard-driving rock foundation while McCaslin's tenor saxophone launches a full-throttle attack, supported by electric bass, guitars and synthesizers. 

      That edgy inventiveness flows through the album. "Solace" has a great sense of dynamics as McCaslin's sax melody flies over the soulful groove before changing pace as his improvisation is brought to the top of the mix before building back up to a wall of sound to close. Co- composed with Lefebvre and Lindner and with a nod to Weather Report
      Weather Report
      band / ensemble / orchestra
      "
data-original-title="" title="">Weather Report      , "Celestial" is another highlight; synthesizers provide electronic textures to combine with the catchy, high-octane repeating sax motif, which builds waves of crescendos. 

      "Stately" and "Mercy" demonstrate that amid the high-octane approach, there are moments of subtlety and understatement that provide contrast to the drama, much of which emerges from the skillful studio integration of electronic effects and delays. The unease that builds slowly in the title track serves as a precursor to McCaslin's terrific solo, where Monder's guitar weaves intricate patterns around the saxophone, evolving from a steady pulse to full takeoff. In sharp contrast, "Kid" showcases echoing saxophone effects and a distinct 1980s vibe as the band shifts to a trio format, with Lefebvre providing synthesizers, electric guitar and bass. 

      This album stands out immediately through its fusion of studio precision, high-energy raw performances and sophisticated improvisation. "I don't think I've ever been happier with how a record turned out than this one," McCaslin reflects, "It's meaningful, it's urgent, and it's me." The hard-hitting rock influences have indeed yielded emotionally expressive compositions that the band conveys with both conviction and muscularity. Never one to shy away from breaking down musical barriers, McCaslin and his bandmates often visit uncharted territory as they craft something fresh and vibrant from their progressive expression of jazz, rock and contemporary electronica. 			
                    

                    
      
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      Track Listing
       
      Wasteland; Solace; Stately; Blond Crush; Celestial; Tokyo Game Show; Lullaby for the Lost; Kid; Mercy.
      
                						
      Personnel
      
						
      
							
      
	
      
		
      
		
      
			
				
      
											Donny McCaslin
									
      
			      
		
      
		
      
			
      Donny McCaslin
      
			
			saxophone, tenor			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Jason Lindner
									
      
			      
		
      
		
      
			
      Jason Lindner
      
			
			keyboards			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Ben Monder
									
      
			      
		
      
		
      
			
      Ben Monder
      
			
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											Tim Lefebvre
									
      
			      
		
      
		
      
			
      Tim Lefebvre
      
			
			bass			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Zach Danziger
									
      
			      
		
      
		
      
			
      Zach Danziger
      
			
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											Jonathan Maron
									
      
			      
		
      
		
      
			
      Jonathan Maron
      
			
			bass, electric			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Nate Wood
									
      
			      
		
      
		
      
			
      Nate Wood
      
			
			drums			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											
									
      
			      
		
      
		
      
			
      Ryan Dahle
      
			
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											Mark Guiliana
									
      
			      
		
      
		
      
			
      Mark Guiliana
      
			
			drums			
		
      
		
      
									
								
      
	
      

      

						
      
                
      Additional Instrumentation
      Jason Lindner: synthesizer (1-6,9), electric piano (1,2,5), acoustic piano (2,9); Ben Monder: guitar (1,3,4,7,9); Tim Lefebvre: electric bass 1,4,5,6,9), electric guitar (1,2,4,5,6); synthesizer (2,4,5,6,9), synth bass (7); Zach Danziger: drums (1,4,5,7,9); Jonathon Maron: bass (2,3); Nate Wood: drums (2,3,6); Ryan Dahle: guitar (4); Mark Guiliana: deums(8).
      
                
      Album information
      
                
      
                    Title: Lullaby for the Lost

                                            | Year Released: 2025                    
                                            | Record Label: Edition Records                                    
      

        
        
		
        
		
		
					
			
      
		
					
      
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									Donny McCaslin
									Album Review
									Neil Duggan
									Lullaby for the Lost
									Edition Records
									David Bowie
									Jason Lindner
									Tim Lefebvre
									Ben Monder
									Jonathan Maron
									Zach Danziger
									Nate Wood
									Neil Young
									Weather Report
							
      
		
		    
      
        
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence."  "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--"  We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. The Sceptical negation of truth he meets with the familiar argument that it is suicidal, for to be convinced that there can be no conviction is a contradiction in terms; while to argue that truth is indistinguishable from falsehood implies an illogical confidence in the validity of logical processes; besides involving the assumption that there are false appearances and that they are known to us as such, which would be impossible unless we were in a position to compare them with the corresponding162 truths.257 For his own part, Antiochus adopted without alteration the empirical theory of Chrysippus, according to which knowledge is elaborated by reflection out of the materials supplied by sense. His physics were also those of Stoicism with a slight Peripatetic admixture, but without any modification of their purely materialistic character. In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. Temple was said to have faggots ready for bonfires of his own. "No, you don't," answered Shorty. "I'm to be the non-commish of this crowd. A Lieutenant'll go along for style, but I'll run the thing."  "Si Klegg, be careful how you call me a liar," answered the Orderly. "I'll—" "Then there is nothing to be done?" Dward asked.  "I'll have a good grain growing there in five year—d?an't you go doubting it. The ground wants working, that's all. And as fur not wanting the farm no bigger, that wur f?ather's idea—Odiam's mine now." At last the gods, who are more open-handed than ungrateful people suppose, took pity on the rivals, and gave them something to fight about. The pretext was in itself trivial, but when the gunpowder is laid nothing bigger than a match is needed. This particular pretext was a barrow of roots which had been ordered from Kitchenhour by Reuben and sent by mistake to Grandturzel. 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