For decades, the great percussionist/conceptualist Ra Kalam Bob Moses has explored many facets of creative music from throughout the world, finding generations of willing collaborators and mentees along the way. Brazilian saxophonist/composer Gaia Wilmer was presented with a unique opportunity to work with Moses and took advantage for their new recording, Dancing with Elephants.

Establishing himself in the jazz rock world of the 1960s, Moses quickly branched out into more diverse realms of improvisation. He studied many facets of percussion and found himself able to add his unique style in uncountable performances. Moses was also able to instill his concepts and open approach to his generations of students at New England Conservatory over the years.

Wilmer has found a place for herself at the heights of contemporary jazz and improvised music in Brazil and New York City in short order. Having studied in the States, Wilmer returned to her home country, establishing a number of fantastic groups in Sao Paulo, mostly notably her Sextet and her Large Ensemble that feature her fabulous compositions and arrangements. Since then, she has gone on to work closely with notable Brazilian legends, like Egberto Gismonti and Jaques Morelenbaum.

Prior to their meeting, Moses heard some of Wilmer’s music online and suggested a project for them where she would compose music over some of his pre-recorded grooves. While living in Boston, Moses had a home studio and worked with an engineer. Together they would capture hundreds of Moses’ solo percussion improvisations or “sonic beds”. Wilmer chose a number of these “beds” and wrote music to them. Moses' only request was to leave ample space for improvisations.

The tracks were chosen for various reasons, usually if they clicked with Wilmer immediately or provided a unique quality that inspired her writing. All the “beds” were improvised by Moses, leaving Wilmer the task of memorizing and mapping them to the second to chart her arrangements.

Wilmer’s move back to Brazil and the pandemic led to the project having to wait a couple of years before being recorded in 2023 at the Big Orange Sheep in Brooklyn with a cast of friends that Wilmer had met while living in Boston. The musicians include flutist Yulia Musayelyan, vocalist Song Yi Jeon, saxophonists Gustavo D’Amico, Daniele Germani, George Garzone, and Neta Raanan, along with guitarist Leandro Pellegrino and keyboardist Leo Genovese. Each one of these chosen musicians were both close to Wilmer and Moses in different ways.

The recording begins with “Dancing with Elephants,” Genovese’s gorgeous piano intro setting up a sweeping arrangement for flute, voice, guitar, and five saxophones over Moses’ pseudo samba groove. Written as Moses and Wilmer’s friendship and trust deepened, “Leaving with The Herd” finds Wilmer’s writing becoming more untethered, as each of the four saxophonists adds a note to complete the melody. New textures and accents open up space for free improv over steadily repeated phrase, featuring Pellegrino’s experimental guitar. Initially attracted to Moses’ use of gongs, Wilmer arranged “Turning The Tide” to be a prayerful, ritualistic piece with woodwinds playing a strong, simple melody over their rich ensemble harmonies. Musayelyan’s flute is particularly moving here.

Moses’ improvisation for “Finding Water” reminded Wilmer of rain falling. She arranged this intimate piece for Genovese and Garzone, who truly captures some of John Coltrane’s soulful warmth. The bright and airy “When They Meet” was written with Genovese and Song Yi Jeon in mind, Moses’ playful groove establishing a pulse for their dancing voices along with the saxophonists’ wild exchange. “Blue Desert” was one of the final tunes written and shows how Wilmer trusted Jeon, Garzone, and Genovese to forge a path through the tempo-less expressions of Moses.

Musayelvan’s overdubbed flutes is featured on “Jellyfish Lake,” an evocative piece that once again captures the shamanic side of Moses’ playing. “Whales Part To Play” was written to feature Gustavo D’Amico’s expressive soprano saxophone playing over a mantra-like simple melody, all built atop of Moses’ colorful hand drumming. Meant to bookend the program with “Dancing with Elephants,” “Chase Machine” is the culmination of all the elements utilized in the program, including Wilmer’s liberated but lush arrangement for full ensemble over Moses’ expressive 15-beat percussive phrase, free improvisation, simple ostinato lines, and repetitive chant-like melodies. Garzone’s strident sax is breathtaking over an ostinato built on a single note piano line and a repeated phrase from Jeon and Musayelyan.

Gaia Wilmer and Ra Kalam Bob Moses’ Dancing with Elephants is an extraordinary and singular work that utilizes the best aspects of both artists. Moses’ unique improvisational work is paired with Wilmer’s adroit arranging and composing. Utilizing a flexible group of ten musicians, the two were able to assemble a diverse and moving work of art.