I finally heard quite a bit more of this record the other day. I had previously heard enough to have a good idea of the flavor. I like many things about the record a lot. But one thing that works against the many things I like is that there are some harmonic 'mistakes', or "if it doesn't fit, force it" moments... like a guitar solo that keeps hitting A natural while the chords are C-, Bb, Ab, Bb & repeat (or something similar in concept). I think that someone is copying something they heard in another record where it worked for them, but it doesn't work for me in this record. In contrast, in one of the tunes there's a minor7 flat 5 chord as part of the structure--fairly harmonically sophisticated--and in another one there are minor 9 chords (or maybe Major 7ths) that have the 9 & minor 3rd (or Maj 7 & root) voiced in half steps inside the voicing; there might even be I Major to II minor 9 to III minor 9: pretty sophisticated in what I would call an Oliver Nelson "Stolen Moments" way. So the stuff that harmonically feels a bit like 6th grade kid harmonic sense living next to the sophisticated stuff twists my brain a bit too much for comfort. But there's no doubt it's an interesting record.
It's interesting, Mike... I recognize those moments as well, of course, but do not find them as disagreeable as you do.
I think of it less like "harmonic mistakes" or "forcing it" and more like bitonality of the type that results from music-as-collage art in the post-sampling era.
I think the contemporary ear's acceptance of such dissonances and bitonal superimpositions descends directly from the use of sampling in hip hop culture in the 1980s and beyond, and the mainstreaming of those influences. Imagine a beat made from loops of two different records with elements in different keys... it creates a rub of a type that is itself a harmonic color, and in many cases even a cultural signifier.
Those sorts of bitonal gestures are now part of the lexicon such that they can and will be desired, and imitated by "live" intruments (in much the same way as you will often hear drum set players with a lope or drag that imitates a beat "played-in" to an MPC with fingertips).
I don't hear it as a "mistake" or trying to "force" something, but rather as part of an evolved contemporary harmonic language that departs from the diatonic in a particular way that seems inelegant (and in fact may once have been), but is in fact intentional. Remember that people thought Coltrane was playing "wrong notes," too, when he stepped outside the boundaries of chord/scale relationships (this is NOT to compare Glover with 'Trane, only to point out that the idea of what constitutes a "wrong note" is continuously fluid over the course of history)
I hope this makes sense!
I get everything you're saying. But if it is truly valid, it should be able to be repeated 20 times within the tune and still work, at least imo. But I think either A. I would become totally desensitized to it and stop 'hearing' it at that point or B. It might start to tweak you a bit as well. I listened to the record again on my way home from NAMM and there are 3 specific instances. But, honestly, his record is not made for a 62 year old white male like me anyway... not that it is made to exclude me. But, to me, salted carmel custard works, but maybe not salted carmel custard with Coleman's powdered mustard.