“Ian Michael Brown seems like a fellow who enjoys a little mystery—not the kind that is dark or forbidding, but the kind that makes travel and exploration so much fun.”

— Geno Thackara

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Ian Michael Brown seems like a fellow who enjoys a little mystery—not the kind that is dark or forbidding, but the kind that makes travel and exploration so much fun. That feel is only further reinforced by a lush jazz-fusion sound which takes a few tonal cues from Brad Mehldau and the Pat Metheny Group. He and a few sharp cohorts bounce off one another in brightly stimulating ways through this upbeat recording, evoking wide-open landscapes almost as much as intimate daydreams.

While Dave Brown's guitar tone ably provides some subtle airiness, Cristhian Cavanzo balances it out with a subtle but insistent propulsiveness at the drums. It meshes most pleasantly with Brown's hooks and piano leads, balancing the easy-to-follow structures with plenty of improvisational space. Though everyone gets a chance to shine (an unexpected bass turn during "Prayer to the Morning Light" making one particularly nice little moment), it's an egalitarian affair most of all. Brown often seems like passenger as much as pilot—perfect for pieces focused around the themes rather than the players.

The picturesque motifs generally float over groovy jams, though Brown isn't opposed to more pastoral ideas when moments like "Moss and Mudd" roll around. The tones are electric though not particularly heavy; the band can cook at a brisk clip in spots and unhurriedly enjoy the scenery in others. It is a little jarring when they dive into Herbie Hancock wah-wah funk at the very end, fuzzy organ and all. Even then, the brightness and dash of humor are right in keeping with the remainder of The Beauty of Not Knowing. There's no need to actually figure everything out when there's such fresh appeal in appreciating the mystery.

--Geno Thackara

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