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Author: Peter Watrous
Source:Descarga.com
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Here’s an idea that hasn’t really taken off, which is surprising: the group, from Philadelphia, mix Afro Cuban religious percussion with a sort of free/post/bop jazz approach. At times it could be related to the Art Ensemble of Chicago, let’s say, with some electronica thrown in. Whatever the references, it’s good, the eight piece group (with four guests), rocking in rhythm, the music big and broad and open, another innovation in the rapidly growing field of Latin jazz, Santeria meets the avant guard.
Highly good and highly recommended.

Author:Tom Hull
Source: Consumer Guide
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Kevin Diehl’s Afro-Cuban percussion continues to amaze, especially when Dan Scofield’s avant-rooted sax skips and skids over the complex beats. If this fails to live up to the previous one, Ashé a Go-Go, it’s because the two vocal pieces are more mojo than magic. A-

Author: Jeff Stockton
Source: All About Jazz
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Twelve musicians play in the Sonic Liberation Front on Change Over Time, but only three appeared on the group’s previous release, 2004’s critically acclaimed Ashe a Go- Go, including musical directors Kevin Diehl and Chuckie Joseph. As you would expect from a band led by drummers, the music leads with an African/Cuban/Caribbean percussive attack that reminds you of David Murray’s work with the Gwo-Ka Masters, Fela’s blend of ripping saxophone, multiplicity of drums and hypnotic vocals—and, when they talk trash and funk it up on the title track, the Rebirth Brass Band.SLF sprinkles a bit of electronica here and there, as well, enhancing “D’Accord, Baby” by providing a bass line which allows for Matt Engle’s plaintive playing with his bow. On “Glass Eyes,” which begins echoey and dirge-like, Engle’s bass is punishing and Dan Scofield (Engle’s bandmate in Shot x Shot) and altoist Julian Pressley (sideman for Illinois Jacquet and Odean Pope) bruise with horn solos that recall Ornette fronting Prime Time. On Engle’s own composition “Dominical,” he gives himself an excellent opportunity to show off his pizzicato skill, but occasionally the electronic effects get in the way and interrupt the flow. On “Ouaga to Bobo” the transistor noise finally yields to the ever-present bata drum beat.

Considering the near-complete lineup overhaul, the theme of Change Over Time is the evolution of a band and its sound. But it’s more a testament to the multicultural work ethic and rich cosmopolitanism of SLF’s Philadelphia than any departure from the music this band has previously made. Sonic Liberation Front makes jazz music with ears tuned to the big world around them.
Track listing: The Next Thing That Happens; D’Accord, Baby; Dominical; First Rain; Omio; Glass Eyes; Ouaga to Bobo; Change Over Time.

Personnel: Kevin Diehl: drums, Yoruba-Cuban percussion, electronica; Chuckie Joseph: drums, Yoruba- Cuban percussion, vocals, guitar; Julian Pressley: alto saxophone; Dan Scofield: alto saxophone; Matt Engle: bass; Rich Robinson; Yoruba-Cuban percussion; Ira Bond: Yoruba- Cuban percussion; Bart Miltenberger: trumpet.

Author:
Source: Point of Departure

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Philadelphia’s Sonic Liberation Front is well on its way to becoming one of the more important American ensembles of the decade. Their mix of post-Coleman jazz, Afro-Cuban folkloric music and electronica manages to be immediately accessible without diluting any of its constituent parts. As was the case on their two previous albums, the writing of percussionist Kevin Diehl, alto saxophonist Dan Scofield and bassist Matt Engle on Change Over Time conveys not simply a smart distillation of composers spanning Joe Henderson and Roscoe Mitchell, but a keen ear for how jagged phrases and unusual structural devices will be buoyed by their drum corps. The drummers also have the right touch in supporting soloists like Engle, Scofield and trumpeter Bart Miltenberger; individual rhythms are well-defined, and the resulting polyrhythms have plenty of heat, but they keep the soloist front and center. One benefit of this restraint, if it can be characterized as such, is that when the percussionists (a contingent rounded out by Ira Bond, Rich Robinson and Chuckie Joseph, whose singing and guitar supply a tranquil mid-album aside) really let loose, there is a discernable spike. There is a similar modesty to Diehl’s use of electronics, which is particularly effective when resembling throat-sung drones. All of these elements fit together so easily that their on-paper disparity is inaudible, which goes a long way to explaining how Sonic Liberation Front gets you moving before you understand why.

Author:
Source: Jazzwise (UK)

“Excellent Philadelphia octet centering on the Yoruba drums of Kevin Diehl, with Ornette/Cherrylike horns, chant and hints of electronics in a hypnotic set played with both intensity and a sense of abandon.”