For many it is hard to see past the stigma attached to Haitian voodou. Depictions in western popular culture of priests casting evil spells amid ‘savage rituals’ feed into deep-seated prejudices about African-derived belief systems. Yet the reality is very different. This is a spiritual practise that has healing and redemption at its core. Ches Smith's remarkable album reflects that in no uncertain terms, blending vocals that have a deeply uplifting quality with rhythms that are coursing with irresistible vitality. Two discs of material sees Smith present different ensembles as the focal points shift, Path Of Seven Colors featuring an octet with sax, vocals and rhythm section and the bonus set We All Break a quartet comprising piano and three drummers. In each case there are creative peaks. The latter is defined by a brilliant intricacy in vaulting grooves where the sharp, stinging resonance of percussion is central, while the former highlights the majestically beautiful vocals of Sirene Dantor-Rene, whose imperious, slightly, grainy delivery slightly recalls the legendary Toto Bissainthe.

Dantor-Rene reaches sublime heights on many occasions, especially when engaging in rousing call and response with other singers. Smith anchors proceedings commandingly, though pianist Matt Mitchell also performs to good effect, striking a crucial balance between improvisatory flourish and rhythmic reinforcement of the orchestral character of the drums. Since his emergence as a sideman to Tim Berne among others Smith has gone on to do solo work that is of a consistently high quality, mostly on the experimental edges of the New York scene. But Path Of Seven Colors sees him go to the next level in terms of flourishing ideas and focused application.