More than once during this at times electrifying Edinburgh Jazz Festival debut the thought occurred that, had Snarky Puppy been around when Steely Dan were in their 1970s pomp, Donald Fagen and Walter Becker would have had them on call 
permanently.

There's a studio musician efficiency about all the players in Snarky Puppy that would doubtless get any session done to a high quality but what's also around in abundance is the sort of creativity that can lift a groove into the stratosphere. Steely Dan fans may recognise this as an Aja moment.

Keyboardist Cory Henry produced arguably the most sensational example, piling climax upon 
climax into a solo that had his bandmates queuing up to congratulate him afterwards, 
but as the nine-piece moved through funk, atmospheric chord sequences, cop chase horn lines, flamenco sketches and down-home New Orleans hymns, there was every likelihood of something similar happening in every corner 
of the stage.

This wasn't just an opportunity for musicians to shine, though: the audience is encouraged to participate and even initiate their own involvement as spokesman and founder, bass guitarist Michael League fosters the mentality 
of a club that everyone is welcome 
to join.

The result, especially in a momentous second half, was music that thrilled the ears, head and heart and – for many – energised the hips and feet.

New material became instantly familiar alongside Snarky Puppy favourites such as the pacy and 
direct Quarter Master, complete 
with a guitar solo from Bob Lanzetti to which the aforementioned, famously demanding Messrs 
Fagen and Becker might well 
have given the thumbs up on 
the first pass.

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