Immigrance is a roomy album, accumulating effect from musically discrete, highly structured tracks, trashing old notions of Snarky Puppy as a fusion jam band. The fat squelch of Stevie Wonder-style synths in its opening seconds is one statement of intent. Its title is another, though this hard-touring group's ideal of music as a mutable, global rejection of nationalist walls is inevitably left implicit. The Moog solos and Moroccan percussion on ‘Bigly Strictness’ nod to the theme, and the closing ‘Even Us’ embodies it, its electric sitar and Turkish bendir (frame-drums) conjuring crossroads between Europe, Asia and North Africa, and combining with Bill Laurance's piano and Zach Brock's violin in a lament which could be Jewish or Muslim. Individual and communal contributions from this 20-piece version of Snarky Puppy are more significant. An unusual, three-drummer tag-team shifts rhythmic styles within songs Though Michael League's compositions dominate, other writers chip in, as when guitarist Chris McQueen's spare yet prettily decorative ‘Coven’ is graced by his own unhurried, summery solo. Staccato, seesaw rhythms settle best during ‘Xavi’, insistent funk which finds room for African polyrhythms, darting flute stings and Bobby Sparks' Minimoog solo, which carves its own space in the groove. Snarky Puppy's penchant for big riffs and climaxes, which prepared the way for much of jazz's current youthful revival, is only sparingly present, as their desire for substantial studio statements grows.