West coast bassist Erskine has been a name to watch for some time now, bubbling under with a debut album Trios that saw his vibrant six string bass playing tackle many well known standards such as Wayne Shorter’s ‘Footprints’, Chick Corea’s ‘Spain’ alongside some flamenco flavoured originals. While his technique and taste were impeccable it’s his mighty groove capabilities and strengths as a composer and bandleader that really shine here on his follow up. In fact it’s these latter qualities that make So To Speak a real joy to listen to, marking it out as a real ‘band’ record and not just a vehicle for some OTT bass chops. Fundamental to this is Erskine’s deep pocket grooves that while complex and full of his trademark syncopated thumb and finger plucking (his subtle update on Wooten’s double thumbing) it’s each song’s shifting meters, hefty Latin funk and soulful modern jazz that really make this a set that’s brimming with energy and emotion. One of the album’s more mind melting grooves is featured on ‘FIF’ which lopes along in decidedly funky 15/8 over which guitarist Chris Mosely and Erskine weave a snaking melody line, before a typically darting bass solo full of cracking percussive runs and a few close harmony chords. The percussion party really starts after Rafael Trujillo’s clattering timbale break and the band set up a Santana-esque Latin vamp in 5/4. It’s Erskine’s talent for blending subtle chords and a counterpoint bass line that adds weight to opener ‘Inside Out’ or the laid back funk of ‘Kaluani’, while the dark expanse evoked on ‘American Gyro’ takes on a hypnotic, pulsating quality.  By tapping into his greatest strengths as a modern groove master with top-notch technique, Erskine shapes this exciting session perfectly from the low end, showing that a powerful groove-led performance can outshine the flashiest of soloists.

Mike Flynn – Bass Guitar Magazine