October 5, 2020 @ 10:30 pm
Jared Gold remains one of the most dependably creative artists in the Posi-Tone stable. He’s delivered an album a year for that label since arriving with Solids & Stripes (Posi-Tone, 2008), a date that, in many respects, set the tone for the other trio and quartet sessions that would follow. Here, on his eighth release for that imprint, Gold delivers a well-balanced set with his working trio—a group that features guitar veteran Dave Stryker and rising star drummer Kush Abadey .
This album’s title speaks to the heartbeat and buzz of city life—something that’s complex and not so easy to capture in music. With that in mind, Gold and company explore the metropolitan pulse, energy, and vibe in different manners; they don’t just focus on mile-a-minute, highly charged songs. The perfect example of this can be seen and felt with the back-to-back placement of “Homenagem” and “Risco”—two songs which look at two different sides of Brazilian music. The former is built on buoyancy and verve, the latter on unostentatious sway. Right there and then, Gold, Stryker, and Abadey make it clear that city life isn’t so simple or uniform in its unfolding.
Having said all of that, it should still be noted that these three know how to cook. Their energized take on Stryker’s “As Is” and their trip through Joe Henderson‘s “Granted”—an adrenalized thrill ride—makes that clear. Elsewhere, they turn in other directions. “God Has Smiled On Me” starts in hymn-like fashion before the band catches the spirit, “Maybe I’m Amazed” is reborn as a groove-friendly number, and Thelonious Monk‘s “Let’s Call This” becomes a more rhythmically fluid and less idiosyncratic vehicle in the hands of this trio.
With Metropolitan Rhythm, Gold manages to paint a multi-dimensional picture of urban life that finds balance between drive and restraint, power and finesse, and tradition and innovation.
It’s back to the Trio format for the new CD from organistJared Gold. “Metropolitan Rhythm” is the 8th release on Posi-Tone Records and the 4th to feature guitarist Dave Stryker. Filling out the rhythm section is the young drummerKush Abadey (known for his work with trumpeter Wallace Roney and the son of drummer/composer/educator Nasal Abadey. Gold is quite the melodic player and he works well with Stryker. The New Jersey native, who has worked with numerous artists including saxophonist Oliver Lake, has chosen an intelligent mix of pieces for the new disk ranging from pop tunes such as “Maybe I’m Amazed” to high-energy romps such as Joe Henderson’s “Granted” to the rich gospel melody of Isiah Jones'”God Has Smiled on Me.” Gold et al have a fun yet sophisticated time with Thelonious Monk’s “Let’s Call This“, changing tempos and giving the piece sections where the trio gets deep into the groove. Where the Charette trio CD above has a funky feel, the Gold trio likes to swing, often with a vengeance. On Stryker’s “As Is“, Abadey sets a wicked pace, propelling the guitarist and organist forward with great glee. Soft guitar lines and gentle brush work lead the way into “Risco“, a sweet samba that may take listeners back to the 1960s sounds of organist Walter Wanderley.
“Metropolitan Rhythm” is one of those sneakily seductive albums in that the music might not blow you away on first listen but grows on you each time you return. The CD has 9 tunes in 48 minutes and only one (the Monk piece) over 6. Dave Stryker shows his worth as both a rhythm guitarist and soloist while Kush Abadey keeps the music percolating without much fuss but great flair. Jared Gold has proven himself to be a fine soloist and he continues to mature as a composer (his “In A Daze” is a bluesy treat). This music sounds great on the back porch on an early summer afternoon.
Jared Gold – Metropolitan Rhythm (Positone)
Blessed with a surname suited to the effortless production of album title puns, organist Jared Gold is admirably no-nonsense when it comes to his music. Golden Child, his fifth recording for the Positone label, remains an outlier with his other projects reflecting resilience in refraining from caving to comedic temptation. The usual suspects are discernible in his B-3 sound, with Don Patterson and Larry Young particularly prevalent forefathers, but Gold brings his own tools to the game as well with a sound enamored of groove, but rarely beholden to it.
Gold’s eighth effort, Metropolitan Rhythm, relies in no small part on that prudent strategy and serves as a vehicle for his working trio with guitarist Dave Stryker and drummer Kush Abadey. Stryker’s no stranger to classic organ trio configuration with a large percentage of his voluminous discography given over to the format. Abadey is a comparative newcomer to the New York scene of which Gold and Stryker a part, but he handles his duties behind the kit with a crisp attack and a clear sense of purpose.
Nine tracks take the congenial collective guise of a blowing session with Gold composing four, a single entry form Stryker and the rest given over to covers of varying provenance. “Check-In” is a straightforward mid-tempo burner on the surface, but Gold folds in a surprising break of swirling, nearly atonal sweeps that nod in the direction of Larry Young. Stryker comps warmly behind the leader before working through his own statement with Abadey’s light cymbal play keeping loose time. In contrast, Paul McCartney’s “Maybe I’m Amazed” brings practically unavoidable and mostly unflattering AM radio fare comparisons in a finger-snapping, organ-centric incarnation.
Gold regains footing with a fleet foray through Monk’s “Let’s Call This” with shimmering swells once again a principal part of the tonal paint box. Stryker’s amplified notes occupy similar textural space in accenting Gold’s leads, although he gets a bit obvious and flashy in his solo. Once again Abadey holds it all together with pliable tempo shifts and sharp demarcations. A lush gospel detour through “God Has Smiled On Me” gives way to the more exploratory Gold original “Homenagem” with the composer flipping the switches for a ripe and rotund sound over a bustling samba style beat.
“Risco” retains a breezy Brazilian flavor but a verdant ballad pace with Abadey applying light brushwork beneath solos from Stryker and Gold that are saturated in warmly enveloping electricity. A brisk Joe Henderson-penned slice of Blue Note-era hardbop outfitted with finger-abrading solos from Stryker and the leader sets up a closing one-two compositional punch each with Gold’s “In a Daze” out of the gate first. A gradual groover, the piece is a bit sluggish in the opening statement, but it opens up through Gold’s ensuing improvisation. Stryker’s “As Is” caps the set with a return to Latin roots and an up-tempo exit. More silver than gold (sorry, couldn’t resist), this date still has much to recommend it for listeners amenable to the aural pleasures of organ jazz.
JARED GOLD/Metropolitan Rhythm: This B3 ace continues to be the backbone of the
label as he delivers his 8th for them without a false note in the bunch yet. With
Dave Stryker’s guitar backing him up, Gold continues to show he can do no wrong no
matter how far a field he let’s his organ wander. Easy going, fun to hear stuff
that just doesn’t wear out it’s welcome. Check it out.
DISCLAIMER: ALL TRANSLATIONS BY GOOGLE
Steve DAVIS : “For Real”
Le tromboniste Steve Davis (né en 1967 aux USA) reste très attaché aux émanations du be-bop. Dans ce nouvel album il s’exprime avec verve et générosité sur ses propres compositions, essentiellement. Remarquablement entouré, il laisse de l’espace à des complices très aguerris. Si Abraham Burton se montre brillant, c’est Larry Willis qui impressionne par un jeu de piano qui apporte un punch revigorant à l’ensemble. Conventionnel, certes, mais jamais ennuyeux.
Steve Davis: “For Real”
Trombonist Steve Davis (born in 1967 in the U.S.) is still attached to the fumes of bebop. In this new album he speaks with verve and generosity on his own compositions, basically. Remarkably surrounded it leaves space at very seasoned accomplices. If Abraham Burton was brilliant, this is Larry Willis impresses by a piano playing brings a refreshing punch to the whole. Conventional, yes, but never boring.
Sarah MANNING : “Harmonious Creature”
Une découverte pour bien commencer 2014 ! Nous ne connaissions pas la saxophoniste-compositrice Sarah Manning mais ce disque ne peut que nous inciter à la suivre de plus près. Les choix esthétiques, les assemblages de timbres (sax alto, violon alto et guitare) donnent à cette musique une silhouette singulière aux lignes épurées et assez audacieuses, jamais hermétique. La saxophoniste (excellente !) a su fédérer un vrai groupe dans lequel nous repérons en particulier le guitariste Jonathan Goldberger (qui croise parfois la route de Jim Black, entre autres et compose pour le cinéma) et l’altiste “miniaturiste” Eyvind Kang. Une de nos références préférées du label californien Posi-Tone.
Discovery to start 2014! We did not know the saxophonist and composer Sarah Manning but this disc can only encourage us to follow more closely. Aesthetic choices, assemblies stamps (sax alto, viola and guitar) give this music a unique silhouette with clean lines and bold enough, never sealed. Saxophonist (excellent!) Was able to unite a real band in which we identify in particular guitarist Jonathan Goldberger (sometimes crosses paths with Jim Black, among others, and composes for film) and violist “miniaturist” Eyvind Kang. One of our favorite references Californian label Posi-Tone.
Brian Charette: “Square One”
Chess enthusiast and a black belt in kung-fu, Brian Charette is a determined musician who goes straight to the point. His music, direct and efficient does not lack subtlety. He brings a personal touch to the tradition (reborn?) Hammond organ in fairly conventional formula trio with guitar and drums. Musician who has worked with Lou Donaldson or … Chaka Khan, between jazz, soul, funk and pop, remains committed to the basic elements of jazz. It also deals with the theme of the train, recurrent in jazz, in a very personal way in “People On Trains”. It swings and it “groove”!
Jared GOLD “JG3 +3”
“Golden Child” (PosiTone-2012), the previous album by American organist Jared Gold, repeated the formula of the trio with guitar, in this case Ed Cherry former accomplice of Dizzy Gillespie. This time, it increases its new trio of a section of “blowers” that reinforces the “funky” dimension of Gold music that draws its material in a varied repertoire, from James Taylor (trio version of “Shower The People” ), Wayne Shorter, Cannonball Adderley and Michael Jackson. Effective!
Ralph BOWEN : “Standard Deviation”
Saxophoniste américain réputé pour sa maîtrise technique irréprochable,Ralph Bowen reprend ici une série de standards qu’il interprète avec une belle énergie, soutenu par une rythmique de haut vol. Une manière de se hisser au niveau des références du sax ténor mais sans vraiment apporter une touche de nouveauté. Un disque qui ne déroutera personne. Est-ce suffisant ?
Ralph BOWEN: “Standard Deviation”
American saxophonist known for his impeccable technical mastery, Ralph Bowen takes here a series of standards he interprets with great energy, supported by a rhythmic top flight. A way to reach the level of references tenor sax but really add a touch of novelty. A disc that will confuse anyone. Is it enough?
Walt WEISKOPF : “Overdrive”
Le saxophoniste Walt Weiskopf (né en 1960) a fait ses premières armes dans le big band de Buddy Rich avant de rejoindre celui que dirigeait la pianiste Toshiko Akiyoshi. De solides références auxquelles on ajoutera la participation au groupe Steely Dan de Donald Fagen et Walter Becker avec lesquels il joue régulièrement. Avec “Overdrive“, il passe la “surmultipliée” et emmène sa formation sur des thèmes simples et acrobatiques nécessitant précision et vélocité (et ils suivent !). Une musique “survitaminée” qu’on pourra apprécier si on est friand de jazz “high-speed” !
Walt WEISKOPF “Overdrive”
Walt Weiskopf saxophonist (b. 1960) made his debut in the big band Buddy Rich before joining one Toshiko Akiyoshi led the pianist. Solid references that participation in group Steely Dan Donald Fagen to be added and Walter Becker with whom he performs regularly. With “Overdrive”, it passes the “overdrive” and takes his training simple and acrobatic issues requiring accuracy and velocity (and they follow!). Music “supercharged” we can assess whether we are fond of jazz “high-speed”!
On his 7th release, Hammond B3 organist Jared Gold augments a core organ trio with a three piece brass section and the result is outstanding. JG3 + 3 sounds the way a big league jazz recording is supposed to sound. Joining Gold are Dave Stryker on guitar and Sylvia Cuenca on drums, along with Patrick Cornelius on alto sax, Jason Marshall on baritone sax and Tatum Greenblatt on trumpet. The musicianship here is top shelf. The selection of material is a nice balance of traditional and contemporary, original and covers, upswinging and contemplative. Gold composed two of the compositions with Stryker contributing one his own, and there nice renditions of songs by Wayne Shorter, Michael Jackson, Cannonball Adderley and James Taylor, among others. This is just a fantastic effort from beginning to end.On his 7th release, Hammond B3 organist Jared Gold augments a core organ trio with a three piece brass section and the result is outstanding. JG3 + 3 sounds the way a big league jazz recording is supposed to sound. Joining Gold are Dave Stryker on guitar and Sylvia Cuenca on drums, along with Patrick Cornelius on alto sax, Jason Marshall on baritone sax and Tatum Greenblatt on trumpet. The musicianship here is top shelf. The selection of material is a nice balance of traditional and contemporary, original and covers, upswinging and contemplative. Gold composed two of the compositions with Stryker contributing one his own, and there nice renditions of songs by Wayne Shorter, Michael Jackson, Cannonball Adderley and James Taylor, among others. This is just a fantastic effort from beginning to end.
BRIAN CHARETTE/Square One: Been jonesing for some hard hitting jazz organ trio work that swings and doesn’t miss? This is the stuff where you can hear Larry Young as well as Jimmy Smith vibing in the background. Straight ahead but loaded with funk and grease, Charette pulls it together here quite masterfully setting the tone and setting the pace for a set that delivers more than the post office ever claimed to. Simply killer stuff that finds the sweet spot and fills the sweet tooth early and often. Hot stuff.
JARED GOLD/JG 3+ 3: There’s so many leaders on board here that the only reason you can be sure this is a Gold date is that his name is in the biggest type on the cover. Putting three horn players in with his regular trio, it must be an inside joke that he has seven players on this seventh set for the label. (Seven?!, where does the time go?) A perfect example of why you dug jazz organ groups in the first place, this swinging after hours set has it all on the ball and more. Everybody knows what to do and why they’re there to do it, and they do. Hot stuff that really sets some new standards.