Mora Collective / Press

“Mora Collective, They're singing now, and while the presence of Zach Puchkors' sax is always going to get them pigeonholed as a jazz band, it's really more groove-oriented psychedelic rock than anything else, in a Traffic/Krautrock kinda way. Zach's using fewer F/X, and the natch'l sound of his horn gives the music a nice flavor of Ben Webster via Archie Shepp. After their initial series of shows, these guys knocked it on the head a few months ago to develop new material, and they sound a lot more comfortable playing together than they did in their earlier recordings. Christopher Isaacs' fretless bass lends their supple grooves even more elasticity, and his guitar synth brings additional colors to their tonal palette. Drummer Eric Yacula remains a polyrhythmic wonder. The groovalicious "Liquid In the Time of Sand," the spacey "Guy Mariano," and combination-of-the-two "Bad Time to Light a Cigarette" are good examples of their instrumental approach, while "Elevator" is a standout.”

“Back at Club Dada the party was still going, this time with jazz band Mora Collective bringing down the house with some signature dubstep/hip-hop sound worked in. Tenor saxophonist Zach Puchkors caught my eye right off the bat with his dynamic presence on stage – a saxophone might not be the first thing you expect to see in Club Dada during a music fest, but Mora Collective certainly shattered any jazz band stereotypes. The three guys who make up the band work together in such an interesting way that provides a great parallel to their musical style -you’ve got the saxophonist jamming out up front, bassist serving up the funk on top of a layer of animalistic drumming coming from the back. At one point the dude took off his shirt mid-cadence.So when they brought in the dub the place literally started to shake. Overall, Mora Collective may not have been what everyone would have expected (at least those who didn’t know their music), but definitely was what everyone remembered at the”

“It's been 45 years since trumpeter Lester Bowie, in the introduction to his track "Jazz Death?" (on Roscoe Mitchell's album, Congliptious), answered the rhetorical question, "Isn't jazz, as we know it, dead yet?" with the knowing rejoinder, "Well, that all depends on what you know." Bowie might well have been speaking of the current Dallas jazz scene, which is diverse enough to include Dennis Gonzalez's Yells At Eels, in which the trumpeter's sons play bass and drums with the same intensity they do in their other heavy metal and experimental noise endeavors; Chris Curiel's Swirve, which blends electric jazz with spoken word and hip-hop; and Tidbits, another band featuring Swirve's Gerard Bendiks on drums, which plays a European-influenced style of free improvisation. It's curious, then, that the Dallas band Mora Collective - bassist Chris Isaacs, saxophonist Zach Puchkors and drummer Eric Yacula - have yet to find an audience in their hometown. Cowtown listeners remember the heydays”

“Second on the bill was the Mora Collective, featuring Zach Puchkors (saxophone), Eric Yacula (drums and Theremin) and Christopher Isaacs (bass). To put it in broad terms, this is an experimental fusion-jazz trio -- but that's understating things. The sax leads have a tasteful level of electronic effects, and the bass is precise and melodic. Yacula manages to play driving, substantial percussion while simultaneously playing a Theremin, an electronic instrument that generates eerie, almost haunting sounds when you wave your hands near it. I see probably 150 bands a year, and there is an ocean of talent in this area. Still, only a dozen or so each year stick in my head enough that I'm compelled to play their music in my car. Mora Collective is one of those acts, and if you get a chance to see them July 22 at Lola's Saloon, do so.”

“Wizard o' sound Dre Edmonson pulled my coat to Mora Collective, a Dallas-based trio (sax, bass, and drums, augmented with electronics) that played what I believe was only their third show at Lola's last night. From the CD-R he laid on me, they sound like a loopy (in more ways than one) take on jazz, heavily infused with hip-hop and dub -- more groove-oriented than Yells At Eels, but less cluttered than Confusatron. Check 'em out.”