Over two-plus decades spent living and working in New York, there is very little guitarist, composer, producer, and educator hasn't tried. Early outings included the seminal with and , the orchestral , and the singer/songwriter date . is working with a concept here. is a big-band meditation on America's obsession with armed conflict; the country has been at war through 226 of its 240 years. In writing and arranging for a large group (they are conducted by trumpeter ), pursues many musics under the rubric of jazz in eight originals and a cover of "Day After Tomorrow," an antiwar song from 2004's , issued the year after the U.S. invasion of Iraq. Some of 's 18 collaborators include trumpeter , saxophonists , trombonist , bassist , and pianist . The nearly ten-minute opener, "March on Washington," starts as a funky assertion with tubas, trap kit, a punchy brass groove, and 's electric guitar laying out a sinister funk vamp adorned by 's vibraphone. It winds itself out to play off the funky, bluesy vamp evoking early - and -era as it proceeds. 's trumpet solo presages an explosive fuzzed-out wah-wah six-string break before the martial snare of ushers in an extended cacophonous horn chart with a surprise conclusion. While "Yellowcake" begins with a noir-ish, dramatic, orchestral interlude, it suddenly shifts gears and finds a mean Latin groove accented by bright brass, hand percussion, and vibes, with killer solos from . "The Vultures at Afghanistan" is where the modernist big-band innovations of the meet the Afro-Cuban grooves of . Its solos from , 's snaky soprano saxophone, and 's boss trombone are underscored by 's frenetic kit, as well as ' bongos, congas, and shakers." "Requiem for an Unknown Soldier" is moodier, more expressionistic. The piano shimmers while introducing a slowly developing horn chart that offers staggered harmonies and pillowy textures in a long, languid suite, complete with stellar blues-inflected soloing from . "Gratitude" weaves soul, gospel, and sunshine pop into its arrangement. Its processional tempo begins to accelerate and nod at the influence of halfway through, with swirling orchestral colors and polyrhythms. While 's guitar playing is front and center on ' "Day After Tomorrow," it is granted further poignancy by him singing the lyric in front of restrained and tasteful accompaniment. Finally, "Stupid, Heartless, Pointless Drug War," melds post-bop jazz balladry, gritty blues, funky syncopation, and swinging tempos that would make doff his hat to the composer. With proves once again he is a master of articulating and innovating on the modern big-band form and is a compelling contributor to its written literature. This is a masterful work whose significance and musical importance will endure. ~ Thom Jurek