There's much to digest in "The Toys of Men."

At its base, you have legendary bassist Stanley Clarke [ tickets ] (Return to Forever, Clarke/Duke Project, Jeff Beck, Rite of Strings, Animal Logic) attempting to wax poetic non-lyrically (for the most part) on war. "If you study history, and the history of warfare, it boils down to some very simple dynamics," Clarke explains in a press release. "When there are disagreements and disputes between countries, people always go back to their toys and how they can use them to intimidate their adversaries."

On the other hand, the album is a showcase of amazing musicianship, encompassing straight-up fusion and funk, to softer edges and longer thematic passages.

The 11:14, six-part title suite runs the gamut from the militaristic "Draconian," to the blistering fusion of violinist Mads Tolling and drummer Ronald Bruner Jr. on "Chaos," to the healing ethereal vocals of Esperanza Spalding on "The Opening of the Gates," to Clarke's lyrical bass solo on the closing, and hopeful, "God Light."

Never comfortable in one style, Clarke shifts into funk mode for "Come On" and the positively Parliament groove of "Game," while another track on the somber-yet-hopeful side is "Jerusalem," written by Israeli keyboardist Ruslan Sirota. "La Cancion de Sofia" is a Brazilian-flavored tune for the bassist's wife, and Spalding returns to lend lead vocals to the ballad "All Over Again," a song about a friend of Clarke's who was forced to leave the US due to his immigration status. "Chateuvallon 1972" is a lumbering, spacey nod to his fusion past, recalling vintage Return to Forever, and dedicated to the late Miles Davis/Lifetime drummer Tony Williams. Throughout everything the band handles the musical proceedings with enthusiasm and a dexterous touch. On the funky bass/drum duet "Bad Asses," the young Bruner Jr. proves every bit Clarke's equal, minus a few decades of seasoning, in terms of stunning chops--by far the most playfully fun track on the album.

Clarke's inimitable bass voice is threaded throughout the proceedings with solo pieces, but the solos are exclusively on acoustic bass (recorded in his dining room for its high ceilings). It's somewhat odd because Clarke is more known for his electric prowess--ask Les Claypool (Primus) or Flea (Red Hot Chili Peppers). Still, there is personality to spare on the swinging "Backin the Woods," gutbucket bluesy "Hmm Hmm," rambunctious "El Bajo Negro," and the resolute closing track, "Bass Folk Song No. 6."

A fine effort from an endearing low-note voice, albeit not for the casual pop listener. Those that might expect three-minute songs with three chords might want to move on.

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