None of that even gets to the horns. The horns, man, were amazing. Brooklyn's Antibalas, another hipster Afrobeat band, falls short on its original tunes because its playing is just far too tight. That band plays with the sterile precision of commercial big-band jazz orchestra, and occasionally loses sight of the slack, sexy, pot-fueled looseness that was as much of a part of what made Fela's music subversive as the politically charged lyrics. Nomo, on the other hand, leaves some wiggle room in its sound, but at the same time, its soloists are outstanding. Dan Bennett, in particular, blew out a few absolutely filthy passages on his baritone sax, an instrument so ungainly and difficult to play nimbly that it was hard to believe that the sounds he made came from the instrument in his hands. The language of his playing was more Coltrane than Tower of Power, with lots of partially completed phrases and riffs that would restart a few ticks lower on the scale, then catapult back up into the highest ends of the instrument's range.