The Light Upon Blight Ensemble – Century (Album Review)

Today’s review is a new album titled Century by The Light Upon Blight Ensemble to be released on February 27, 2025. This is the most recent release by the record label New Haven Improvisers Collective (NHIC).

The New Haven Improvisers Collective celebrates 20 years of music and remains one of the focal points of a thriving improvised and experimental music scene in New Haven, CT. The NHIC is dedicated to creating and presenting cutting-edge music by providing a venue for jazz ensembles and progressive new music groups and hosting monthly music workshops.

This impressive prog jazz rock album was produced by Bob Gorry and was recorded at Firehouse 12 performance space and studio in New Haven, CT, USA, with Greg DiCrosta (recording engineer) and Nick Lloyd (mixing and mastering). The Light Upon Blight Ensemble consists of Richard Brown (alto sax); Pete Brunelli (bass); Jeff Cedrone (guitar, synth); Bob Gorry (guitar); Tom Hogan (drums); and, Peter Riccio (drums). This “live” album was recorded at Firehouse 12 in front of a live audience.

Instead of songs, this prog-rock and jazz infused album unfolds in musical movements: CENTURY

1. CENTURY I – Universal
2. CENTURY II – Night Windows
3. CENTURY III – Pearl
4. CENTURY IV – Beyond
5. CENTURY V – The Other

The band explains its thought process: “CENTURY is a cohesive opus that weaves together a diverse array of styles, creating an experience that transcends the individual components. The composition is structured into distinct sections, each functioning as individual pieces while seamlessly connecting to form a unified statement.” The band continues, “the album opens with “Unity,” a post-rock landscape enriched with elements of jazz and art-rock. “Night Windows” follows, bringing a raw intensity with its clash of guitars and saxophone. The dazzling drum duet that kicks off “Pearl” leads into a series of beautiful, lyrical melodies. “Beyond” offers a blend of exploration and contrast, featuring bluesy rock alongside unexpected shifts in mood and texture. The composition concludes with “The Other,” a coda that revisits the post-rock and prog influences introduced earlier while developing and recapitulating key themes. It ends with a deliberate, composed statement of finality, clearing the way for a new beginning.”

The band cites impressive musical influences: Tortoise, Electric Masada, King Crimson, Ornette Coleman, Sun Ra, John Coltrane, Maceo Parker, and my favorite Pink Floyd. So let’s have a listen: https://bandcamp.com/private/RTU18U5U

The album kicks off with a discordant cacophony of musical sounds and eventually folds into a nice slow groove led by the horn section. Then the bass and a lonesome lead guitar kick into the musical melee. With all the instruments swirling in and out of the mix, competing for their individual parts to be recognized. I like the discordant drum fills in the middle of the song. Eventually, an arpeggiated electric guitar joins into the mix, followed closely by a plaintive but melodic lead electric guitar in a higher register. I like how the bassist and guitarists link up their creative ideas toward the end of CENTURY I – Universal. This is not rock in the classic sense.

I said earlier that this was a Prog-Rock album infused with jazz, but upon closer listening this is really a Freeform Jazz album infused with prog-rock. The band describes their sound as being “rooted in psych-jazz, progressive rock, post rock and free jazz, it also features elements of straight ahead jazz, contemporary classical, electric blues and pop.” Lots of influences!

CENTURY II – Night Windows kicks off with a powerful repeating rock guitar riff which sets the scale for this movement. Shortly into the song a jazz saxophone enters the fray competing with the electric guitar’s jazz infused riffs. Very experimental and progressive, this track. Definitely free-form! I would like for the sax to be a little louder towards the end of this movement. Guitars devolve into another cacophony of sound near the end of the track. This album is like everybody improvising and taking the lead at the same time, so many ideas free-flowing on the stage, it’s hard to focus on one. But I guess that’s the point, to keep things super-interesting for the audience.

The movements end a little abruptly in my opinion, maybe needed a little more production help, but I suppose that’s because this was recorded as one long improvisation session that were cut into tracks to make the album. Still, there’s a way to make the transitions smoother. Perhaps this is why the band includes the entire 41 minute long performance as track 6.

CENTURY III – Pearl features the drums as the primary instrument. But in the middle of the song the drums fall out completely and the horns take center stage. Does remind me of classical movements during this section of the track. Nice lead guitar work joins in eventually underneath the horns, playing sympathetic melodies. The horn interplay in this song reminds me of The Flaming Lips’ Atlas Eets Christmas album if you like that sound. Sounds very foreign, but pleasing, to the ear.

CENTURY IV – Beyond starts off with a straight ahead rhythm guitar chord riff. Eventually, the track unfolds into a competition between the melodic saxophone and lead guitar, playing off each other. At times, you wonder how all this might fit together, but the band still pulls it off – just when a discordant sound enters the mix, the band incorporates it into their soloing. Like it was always intended. Again this reminds me of Atlas Eets Christmas.

I feel bombarded with sonic inputs, so much to “hear” in this new album. The album may prove a little overwhelming for some, but it has its niche.

CENTURY V – The Other starts with a drum fill quickly followed by the horns and lead guitars joining in. The basic riff is in the key of G Mixolydian, but they seem to be avoiding the 3rd, giving the piece a very atonal feel. At times, you even hear a b5 being thrown into the mix. Very jazz-influenced. The band then switches into aeolian minor mode in A (the sixth mode in C Major) led by the electric guitar’s repetitive single-note riff then the guitar and saxophone join forces toward the end of the song playing the same repetitive riff until the song ends to provide a very cohesive exclamation point on the night.

SCORE/Good: I very much appreciate the jazz-effort put into this live performance album. Must have been a very interesting night for those in attendance. Although the sound is discordant, even enharmonic at times, the ensemble somehow seems to pull it all together into one musical masterwork. I almost rated this album as Excellent, but it seems to me this album will only have a limited audience. But it fills a musical niche and the performances on the album are wonderful. If you like free-form jazz with elements of prog-rock thrown in to taste, check out this very musically interesting album! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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