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lucid culture reviews Jared Gold “Golden Child”…

Jared Gold Pushes the B3 Envelope

In a way, organist Jared Gold is to the Posi-Tone label what Willie Dixon was to Chess: he seems to be on practically all their records. And why not? He’s a good player, and he’s literally never made a bad album. His fifth as a bandleader, Golden Child, has been out for a few months: fans of organ jazz who’re looking for something imaginative and different should check out this unpredictable effort, by far his most original and cutting-edge album to date. His 2010 album Out of Line was 60s vamps; All Wrapped Up, from 2011, was a diverse effort with horns that explored swing, noir and New Orleans styles. This album finds him pushing the envelope a la Larry Young without referencing Young directly: it’s about as far from “Chicken Shack music” as you can possibly get. How radical is this? Rhythmically, most (but not all) of this is familiar B3 grooves, Gold walking the pedals with a brisk precision over drummer Quincy Davis’ terse shuffles; tunewise, a lot of this is pretty far out there. Track after track, Gold defiantly resists resolution, pushing consonance away in favor of an allusive, sometimes mysterious melodic language that changes vernacular constantly. Gold doesn’t stay with any particular idea long – a typical song here goes from atmospherically chordal to bits of warped blues phrasing, hammering staccato atonalities and momentary cadenzas in the span of thirty seconds or less. Guitarist Ed Cherry is the cheery one here and makes an apt foil for Gold, holding the melodic center, such that it is.

The slowly shuffling, syncopated opening take of Sam Cooke’s A Change Is Gonna Come takes the same liberties with the melody that Cooke would take with the rhythm when he sang it live: much of it is unrecognizable, and for the better, it’s not like we need another slavishly reverential cover of this song. The album closes with the most off-center cover of When It’s Sleepy Time Down South you’ll ever hear: although it swings, Satchmo himself might not recognize it. And Gold reinvents Johnny Nash’s cloying rocksteady hit I Can See Clearly Now with more than a little gleeful irony: this twisted reworking is nothing like what you hear in the supermarket. Gold starts with a particularly abrasive setting on the organ, hints at the blues, abruptly shifts from major to minor, all along peppering his digressions with fragments of the original as Cherry pulls it in the direction of Memphis soul (a style he mines here very memorably). The first of the Gold originals, Hold That Thought develops with a vivid sense of anticipation that never delivers any expected payoff, Davis’ flurrying breaks adding to the tension. The title track is all allusion: an out-of-focus ballad, unsettling rhythmic shifts, a nicely casual but biting, chromatically-charged Cherry solo and refusenik blues by Gold. Their cover of Wichita Lineman goes for wide-angle angst for a second before taking the theme in and out a la the Johnny Nash track, over and over before Cherry finally brings it into momentary focus right before the end.

Cherry’s tastefully terse blues and Memphis phrasing serve as sweetness versus Gold’s atonalities on another original, 14 Carat Gold, a sardonic midtempo soul strut. Likewise, their takes on a spiritual, I Wanna Walk and a bit later, In a Sentimental Mood both take familiar tropes and warp them, Gold simply refusing to hit the changes head on: and then, on the Ellington, just as it looks like it’s going to be all weird substitutions and no wave, Cherry dives in with aplomb and sends it out with a jaunty chordal crescendo over Davis’ mini-hailstorm. Underneath the persistent melodic unease, there’s a lot of ironic humor here, most obviously on the practically frantic Times Up, Gold’s pedals sprinting nimbly in 5/4 and then cleverly shifting the tempo straight ahead, Cherry walking through the raindrops, Davis finally getting some space to play sniper, so he machineguns it. It’s a fair bet that years from now, organists will be citing this album as an important moment in the history of the genre – and the devious fun these guys are having becomes more apparent with repeated listening.

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Midwest Record reviews Jared Gold “Golden Child”….

JARED GOLD/Golden Child: Dead solid perfect jazz, organ trio that’s right in the pocket and absolutely captures the back in the day groove so well that Jimmy Smith is probably right now thinking he’s found his worthy successor. Uber groovy without an ounce of hipster, self congratulatory vibe anywhere on it. This is the bomb, circa 2012. If you’re any kind of a B3 fan. Gold will not disappoint on this must have recording. And if you aren’t any kind of a B3 fan, it’s time for you to get hip with this as your guide. It’s the most, daddio!

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Another review for Jared Gold “Golden Child”…

Jared Gold credits Larry Young, Don Patterson, and Jack McDuff as influences. His multifaceted style landed him gigs with John Abercrombie, Adam Nussbaum, and Don Braden. His adventurous original compositions and fresh takes on standards have distinguished him among his contemporaries. Gold’s latest “Golden Child” (Positone) is feel good music! Guitarist Ed Cherry and drummer Quincy Davis lay down the rhythmic base, and it’s difficult not to tap your foot or move with the music. Gold’s originals such as “A Change is Gonna Come,” “Hold That Thought,” and “14 Carat Gold” all have soulful melodies and funky grooves. Gold’s treatment of Johnny Nash’s “I Can See Clearly Now” is very lyrical. “I Wanna Walk” is a medium swinger that grooves hard and provides an excellent change of pace. It features an understated solo by Cherry that serves as a springboard for one of Gold’s most dynamic solos on the record. Duke Ellington’s classic ballad “In a Sentimental Mood” is played at a medium tempo with a few subtle re-harmonizations in the head.  “Times Up” is a modern up-tempo swing tune that is highlighted by an explosive drum solo by Davis. The march-like “When It’s Sleepy Time Down South” concludes the record and is another example of how well this groups swings.

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Ken Franckling reviews Jared Gold “Golden Child”…

Jared Gold, Golden Child (Posi-Tone)

By it’s very nature, the Hammond B3 organ has a funky sound, but not all of the music produced on it has the greasy “chicken shack” feel associated with the late Jimmy Smith. I love that sound, dripping with soul, but I also like the cleaner, more contemporary sound that has evolved from the work of players like Larry Goldings, Sam Yahel and now Jared Gold. The leader, backed by guitarist Ed Cherry and drummer Quincy Davis, has a mighty groove of his own when covering classics like Sam Cooke’s “A Change is Gonna Come,” Johnny Nash’s “I Can See Clearly Now,” Jimmy Webb’s “Wichita Lineman and Duke Ellington’s ”In a Sentimental Mood.” But you get to hear his full voice on Gold’s original material. The title track, “Hold That Thought” and “Times Up” stand out. The trio interplay is exquisite here.
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Peter Hum reviews Jared Gold and Tom Tallitsch…

The discs below feature the fine work of organist Jared Gold, who should be on your get-t0-know list if you’re not already familiar with him…

Golden Child (Posi-Tone)
Jared Gold

jaredgold goldenchild mt Vital Organs I (CD reviews)

Attention Larry Goldings, Sam Yahel and other acknowledged contemporary jazz organ masters:  Jared Gold is nipping at your heels.

The young New York organist is amassing some formidable playing credits with the likes of John Abercrombie, Dave Stryker, Oliver Lake and Ralph Bowen. His fifth disc under his own name,  Golden Child,reaffirms that with guitarist Ed Cherry and drummer Quincy Davis, he leads a trio that has it goin’ on.

The CD consists of 11 tracks, sequenced such that Gold wrote all the even-numbered tracks, while the odd-numbered tracks are covers that range from Duke Ellington (In A Sentimental Mood) to ’60s pop and soul (Wichita LinemanA Change Is Gonna Come, I Can See Clearly Now).

Regardless of who wrote them, the consistently potent and satisfying tracks combine to draw a clear picture of Gold’s strengths.

He’s soulful in the extreme on A Change Is Gonna Come, a top-notch disc-opener that you won’t be skipping on repeated listens. On the hippified Wichita Lineman and the quirkier I Can See Clearly Now,  Gold makes some smart harmonic revisions without losing the gist of the original tunes. He cranks up the groove on the somewhat reharmonized In A Sentimental Mood, as you can see in this clip, which features drummer McLenty Hunter rather than Davis:

The swinging’s just as strong — which is to say it’s an exhortation for foot-tapping and head-bobbing– on the minor-key tune I Wanna Walk and Gold’s own Hold That Thought.  The original Times Up is a burner that brings to mind the urgency and power of Larry Young. The grooving’s greasier in a good, New Orleans-inspired way, on 14 Carat Gold. The disc-ending When Its Sleepytime Down South is right on the money.

Throughout, guitarist Cherry is a no-nonsense foil for Gold, as economical and blues-based with his note choices as Gold can be florid and sophisticated. They and Davis are utterly in sync as they shape the flow and craft the details.

Heads Or Tales (Posi-Tone)
Tom Tallitsch

tom tallitsch heads or tales Vital Organs I (CD reviews)

New Jersey-based saxophonist and radio show host Tom Tallitsch presents eight post-bopping originals and a Neil Young cover on his latest CD, which features organist Gold raising the music to a higher level.

Swingers such as the opener Coming Around and the charging tune Double Shotdovetail nicely with Tallitsch’s burly yet breathy playing that at times features long, Lovano-esque, corkscrewing lines.  Here’s a version of Coming Around from an organ-free band led by Tallitsch: 

 I especially like the vibe on the slower, Elvinish tune Tenderfoot, the groove tune Flat Stanley and the waltzing, upbeat tune Dunes, that features a nice gradual build up front.The disc’s only cover, Neil Young’s Don’t Let It Bring You Down, is a short, minimalist reading featuring Tallisch that introduces some welcome vulnerability to the CD’s emotional range. Still, I wonder if the saxophonist could have been more expansive or ambitious with the tune.

Guitarist Dave Allen is a fluent, modern player whose advanced improvising can seem to pick up where Tallitsch leaves off — that’s to Allen’s credit, but it also seems to me that the disc could do with a bit more contrast now and again in terms of the feeling and approaches of these soloists. Mark Ferber drums with his usual spark and precision. Gold, as I mentioned, consistently enlivens the music, and his solos on Tenderfoot and Flat Stanley count as disc highlights.

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Another review for Jared Gold “Golden Child”…

“Golden Child”
Hammond B3 expert Jared Gold’s work as a sideman has been nothing short of sensational, and that streak continues on saxman Ralph Bowen’s upcoming release “Total Eclipse.” (More on that one in a future episode.) Gold’s own efforts as a leader, however, have been less than stellar. Thankfully, “Golden Child” breaks that streak, as all the fun and soul Gold brought to his support gigs finally made it to one of his own sessions. Sam Cooke’s “A Change is Gonna Come” gets an almost-complete reboot, maintaining the gospel feel of the original but adding a dancing attitude that celebrates that change, not mourns it. Gold’s jazzed-out take on Jimmy Webb’s “Wichita Linemen” is as far from Glen Campbell as you can get, and Duke Ellington’s “In a Sentimental Mood” has a sexy element Ellington’s original never had. Ed Cherry’sguitar is both elegant and sassy, bridging the gap between jazz and R&B, and drummer Quincy Daviscontinues to be the steady-Eddie of Posi-Tone’s stable, providing an inventive solo voice when necessary and solid support for all occasions. Put this one on the “Party Music” list for this summer’s deck-party schedule.

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Another review for Jared Gold “Golden Child”… 

The trio of organ, guitar and drums is one of the standard formation of trios in jazz and organist Jared Gold is a rising star on that competitive scene. On this album, he is accompanied by guitarist Ed Cherry and drummer Quincy Davis. Each of the musicians supports the other well, to make an interesting and varied program of musical selections from a wide range of styles, from the funky and familiar to the soulful and original. They are accountable for not only their own solo features abut for the interplay of the band as a whole. Gold has shown measurable growth in each of his albums and continues here with a confident group of performances including an unusual instrumental arrangement of the late 60’s pop-country hit “Wichita Lineman” which depends on the narrative of the song for its melodic content. In addition to the title track “Golden Child,” there are also solid covers of “In a Sentimental Mood” and “When It’s Sleepy Time Down South. Good group dynamics keeps the session in the pocket, and it is recommended for fans of organ trios.

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Dan Bilawsky reviews Jared Gold “Golden Child”…

A string of enjoyable leader dates and some high profile work in guitarist Dave Stryker’s organ-centric groups can be credited for the steady rise in organist Jared Gold’s profile. His ability to live within the tradition while simultaneously building upon it has made him one to watch, and his constant and steady growth as a musician/composer has been evident from album to album.

Golden Child, his fifth release for the Posi-Tone label since 2009, was actually recorded a good six months before its horn-driven predecessor, 2011’s All Wrapped Up, and on the whole it’s a looser date. Two like-minded musical partners—guitarist Ed Cherry and drummer Quincy Davis—join the organist on a covers-heavy program that gives nods to everybody from Sam Cooke and Johnny Nash to Jimmy Webb and Duke Ellington. While Gold’s selections are familiar ones, his interpretations are far from normal. Musicians including clarinetist Anat Cohen and guitarist Bill Frisell have treated Cooke’s “A Change Is Gonna Come” with due reverence, but Gold gives it a groovy make-over, and Ellington’s ballad-born “In A Sentimental Mood” is transformed into a mid-tempo swinger.

While the band catches fire on occasion, most notably with the back-to-back home runs of “In A Sentimental Mood” and “Times Up,” this is an album that’s more likely to singe than fully burn. Gold’s originals, from the title track which cooks on a low flame to the semi-swampy “14 Carat Gold” to the mellow and soulful “Pensa Em Mim” are inviting in their casualness. Cherry reads Gold’s temperature at every turn, meshing with the leader rather than providing great contrast in most places, and Davis moves the music along without pushing.

Golden Child isn’t an overly ambitious outing, but it’s welcome nonetheless, another opportunity to admire the unique organ perspective that Jared Gold has to offer.

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JazzWrap on Jared Gold “Golden Child”…

Rolling along in a funkier groove than his previous quartet outing, All Wrapped Up, Jared Gold returns right on time with another soul jazz gem–Golden Child. This time in a trio session with Ed Cherry (guitar) and Quincy Davis (drums). It’s like John Patton, Wes Montgomery and Billy Higgins been have locked in a room with a large chest of soul classics to get them through the night.

Opening with a charged up version of Sam Cooke’s “A Change Is Gonna Come,” Gold keeps the soulful impact of the impassioned ballad but adds a fire and urgency that makes the piece his own. Cherry’s guitar provides the romantic element, while Davis applies the groove beat that makes for an uplifting opener to a journey that is about to sizzle.
At times this feels like a raw version of Medeski Martin Wood. It’s the grit and the groove without the dramatics. That’s a good thing on Golden Child. It leaves you squarely focused on the tune. “14 Carat Gold”  is the trio in a blues mood with a few twists and turns created through Gold’s unique and varied lens. His improvised lines about two thirds in are smokin’. He really has a way of turning the organ into more than just the funk/blues instrument it’s sometimes associated with. His lines feel like they were performed first on the piano (which I’m sure was not the case)–they are crisp, inventive and flowing.
With “Pensa Em Mim,” Gold projects a soft gospel tone that soothes and creates a jubilant Sunday morning vibe. Gold’s organ rises and falls while Cherry and Davis distribute colourful touches around the edges. It’s somber but with a joyous undertone. “Times Up” crackles with heavy rapid exchanges during the opener by Gold and Davis. Gold tears into the keys like it was the last performance ever. The intensity is fueled by the bebop spirit that came before but Gold projects his own vision that makes this a very dynamic piece.
Jared Gold has always been consistent on each of his sessions and Golden Child is no different. Here you get a the fire and chill but you also get a trio that sounds stellar through and through. This is not an artist that you have to start at the beginning to understand. Jared Gold is one of the exciting ones that allows you to dive in at whatever point you choose. Let’s hope you choose Golden Child as that primer.
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Richard Kamins reviews Jared Gold “Golden Child”…
There’s something about Hammond B-3 organ trios that reminds me of spring and summer, lounging on the back porch with a cool drink.  Perhaps, it’s the “burbling brook” sound some players get out of their speakers – whatever it is, the chemical reaction in my brain is quite positive.

For his 5th release on the Posi-Tone label, “Golden Child“, Jared Gold returns to the Trio setting that served him well on his 2009 CD, “Supersonic.”  Guitarist Ed Cherry is back from that date while  Quincy Davis (who appeared on Gold’s previous Posi-Tone release) mans the drum chair.The program ranges from “pop” tunes, such as “Wichita Lineman” and “I Can See Clearly Now” to jazz standards like “In A Sentimental Mood” and “When It’s Sleepy Time Down South” to 5 pieces from the leader. The disk opens with an ultra-funky version of Sam Cooke’s “A Change Is Gonna Come“, a piece that sets the tone for the entire album.  Davis is a responsive and explosive drummer, doesn’t hold back reacting to the soloist.  Cherry, who has worked with a slew of great musicians (like Dizzy Gillespie, Henry Threadgill and Hamiett Bluiett), is an equal partner in the music, either doubling the song’s theme or stretching out on a solo.  His lines blend jazz licks (a touch of Wes Montgomery octaves show up on the title track) with a strong blues feel.  This is no “lounge” band; every one digs in and gives his all.  One can enjoy the subtle shadings of Gold’s “Pensa Em Mim“, groove on the “second-line” feel of “14 Carat Gold” or bask in the sweet glow of “…Sleepy Time...”  Excellent solos from both Gold and Cherry as well as simple-sounding yet masterful percussion.  The trio’s take on Jmmy Webb’s “..Lineman” is quite funky while remaining true to the melody and mood of the original.  Cherry’s rhythm guitar work is exemplary while Davis lets loose during the organ solo – then, the drummer gives the guitarist a real “fatback” feel beneath his short yet satisfying solo. “Times Up” moves (rather successfully) into Larry Young territory, with Davis’s fiery drumming pushing, urging, coaxing his cohorts forward.

Each one of Jared Gold’s Posi-Tone recordings has something to recommend it but “Golden Child” is, arguably the best.  Even in a trio setting, the program is his most varied. You’ll like the way the Trio communicates, how their solos are substantial (and not just space fillers) and, for these ears, Gold’s handsome “burbling” organ.  To find out more, go to