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Dave Sumner covers the new “JG3+3” CD…

Organist Jared Gold‘s newest album, JG3+3sees him adding a trumpet and two-sax attack to his normal organ-drums-guitar trio.  The resulting balancing act between the thick grooves and airy presence of the organ trio and the decisive vernacular and luxuriant heat of the wind instruments makes for a set of well-rounded tunes thick with sonic layers, yet still light to the touch.  There is an abiding warmth to this music that can’t be beat.

Gold contributes two originals to the session.  Album opener “Pendulum” has all kinds of presence, first introduced with a strong melody, then in the way the song moves with a determination niftily masked as a casual gait.  “Fantified,” on the other hand, speeds right along, feet moving fast, no time to lose.

Julian Adderley’s “Sermonette” has that effusively potent mix of celebration and the blues.  In addition to playing guitar on this session, Dave Stryker adds his composition “Spirits” to the mix, and its flailing groove contrasts nicely with its solos moving fast and low to the ground.

The most remarkable accomplishment of this solid recording is reflected, perhaps, in Gold’s ingenious adaptation of James Taylor’s “Shower the People,” providing some real vibrancy to the original’s insipid melody, and then using it as a launching point for some enjoyable jamming out.

Dave Mann’s “No Moon At All” has a punchy attitude, whereas the rendition of Michael Jackson’s “I Just Can’t Stop Loving You” swings the original’s heartbreak away.  Ray Bryant’s “Cubano Chant” brings a thump and roar while retaining a spring in its step.  Wayne Shorter’s “Charcoal Blues” sees the recording out, and it exudes that same presence the album opened with.. but now with a satisfying sense of finality to the closing moments.

Just one of those recordings with a winning personality that never gets old.

Your album personnel:  Jared Gold (organ), Dave Stryker (guitar),Sylvia Cuenca (drums), Patrick Cornelius (alto sax), Jason Marshall(baritone sax), and Tatum Greenblatt (trumpet).


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More press for Jared Gold “JG3+3″…

Jared Gold, JG3+3: Seriously enjoyable session from the organist. Utilizing a double sax line-up (of Patrick Cornelius and Jason Marshall on alto and baritone) and trumpeter Tatum Greenblatt, Gold nicely balances the organ-guitar-drums trio’s foggy atmosphere with some decisively pointed statements of melody from the wind instruments. Those strong melodies lead to some nifty exploration of their various facets, rounding each tune out nicely. A few Gold originals and some covers of Ray Bryant and Wayne Shorter, and a cover of James Taylor’s “Shower the People,” which works remarkably better than one would expect. Straight-ahead jazz with a strong voice and presence. Recommended.

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SomethingElse Reviews the new Jared Gold CD…

Sometimes, both quality and quantity is possible: Hammond B3 commander Jared Gold has been punctually making a record a year since 2008. It has become a ritual to break ‘em down here every year since 2010, and get delighted with the results each time.

2014′s entry is called JG 3+3, and as the title indicates, this is an expansion of the usual organ/guitar/drums structure; the “+3″ is a three horn augmentation of the trio. The base three is already strong with Sylvia Cuenca (drums) and Gold’s sometimes-boss Dave Stryker on guitar. Patrick Cornelius (alto sax), Jason Marshall (baritone sax) and Tatum Greenblatt (trumpet) bring the wind.

How those three extra voices are used define how this Jared Gold disc distinguishes itself from his six other albums, because his (and Stryker’s) monstrous chops are sure bets. Those horns are used to deepen the harmony for the first two songs, the slinky “Pendulum” and the tough funk of “Spirits.” But starting with Cannonball Adderley’s gospel soul “Sermonette,” they’re taking on upfront roles; Marshall leads for much of the way here. Cornelius chases down rapid scales on the bop number “No Moon At All,” and he also grabs a spotlight on Gold’s quick tempo tune “Fantified” as well.

Greenblatt lends nifty trumpet lines to a swinging take on Michael Jackson’s ballad “I Just Can’t Stop Loving You.” Marshall and Stryker unify for the thematic lines that outline Wayne Shorter’s underrated blues number “Charcoal Blues,” and Marshall later delivers a solo dripping with soul.

The one track where the horns lay out, James Taylor’s “Shower The People,” is also the one track that could easy gonon Stryker’s brand new killer oldies cover record, Eight Track, where Gold guilefully re-harmonizes the harmony and then stretches out along with Stryker.

A model of consistency, Jared Gold is also keen enough to offer something a little different with each release. ForJG 3+3, on sale April 1, 2014 by Posi-Tone Records, he offers twice the fun.



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Bop-n-Jazz reviews Jared Gold “JG3+3″…

Posi-Tone Records would seem to have the market cornered on both saxophonists and organists with Jared Gold at the top of the list on the latter.
The organ trio format gets a kick in the ass with the addition of a three person horn section and Gold’s best compositions thus far. Joining Jared we have improvisational guitar wizard in Dave Stryker and rock steady Sylvia Cuenca on drums. Let’s get the negative stuff out of the way first, shall we? I don’t know that the covers of “Shower The People” and “I Just Can’t Stop Loving You” make the transition to this format as well as perhaps intended. That being said, when you put together a band this tight then they could record the music of Sesame Street and it would swing!
Jared’s tunes “Pendulum” and “Fantified” showcase his exponential growth as a composer as his skills as an instrumentalist certainly go unchallenged. The other two covers of Ray Bryant’s “Cubano Chant” and Wayne Shorter’s “Charcoal Blues” smolder with intensity. This is passion on a shiny silver disc. The horn section of Patrick Cornelius, Jason Marshall and Tatum Greenblatt add a smoldering soul that elevates a release that one might consider “predictable” to a new level of swing. Jared Gold is a force in modern jazz and an organ player that continues to grow artistically. Nothing to grind on here, you like organ? You will love this!
Tracks: Pendulum; Spirits; Sermonette; Shower The People; No Moon At All; I Just Can’ Stop Loving You; Fantified; Cubano Chant; Charcoal Blues.
Personnel: Jared Gold: Organ; Dave Stryker: Guitar; Sylvia Cuenca: Drums; Patrick Cornelius: Alto Sax; Jason Marshall: Baritone Sax; Tatum Greenblatt: Trumpet.


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Dan Bilawsky reviews several new Posi-Tone Releases for AAJ…

Some labels release a few records a year; some put out a record every month or two; and then there are those, like the Los Angeles-based Posi-Tone Records, that prefer to push even more music through the pipeline.

As 2014 came into being, Posi-Tone began an ambitious release schedule, putting out a new album every few weeks. Those who cover jazz and follow the scene intently can’t seem to turn around these days without bumping into one of their discs. Everything from groove dates to post-bop parties to beyond-the-norm entries fly under the banner of this small-but-thriving label. Here’s a look at four from the ever-growing Posi-Tone pile.

Brian Charette
Square One

Organist Brian Charette has appeared as a sideman on several albums for this imprint, but Square One is his leader debut for Posi-Tone. He works with the tried-and-true organ trio format here and it suits him well.

Guitarist Yotam Silberstein and drummer Mark Ferber join Charette for what starts out solid and turns into a hell of a ride. The first few tracks on this one almost almost seem like a warm-up, as the band finds its footing with funk-to-swing fun (“Aaight!”), pays respect to Larry Young(saxophonist Joe Henderson’s “If”), and pleasantly waltzes on by (“Three Martina”). All of this material comes together well, but sparks don’t always fly. That all changes when the band finds its stride with The Meters’ “Ease Back.” That track, which comes at the midpoint of the album, starts the winning streak. Everything that follows is superb. Ferber’s snare drum groove on “A Fantasy” makes the song, Silberstein pulls out some Lionel Loueke-esque sounds on “Things You Don’t Mean,” and the whole band becomes strikingly unhinged during “Ten Bars For Eddie Harris.”

Charette’s ability to hunker down into a groove, look to the outer limits, or switch between the two at a moment’s notice helps to keep listeners on their toes during this delightful and occasionally daring date.

Jared Gold

Jared Gold, like Charette, has never subscribed to old school organ orthodoxy. He’ll give the past its due, but he works in the present. This is his seventh album in seven years—all released on Posi-Tone—and it finds him fronting an augmented organ trio, with three horns added to the mix. These other voices don’t dominate the program, but they do get to step out on occasion, round out the sound of the group, create some harmonic heft, and add some secondary colors to these pieces.

The album opens on Gold’s slow swinging “Pendulum,” guitarist Dave Stryker’s crackling “Spirits,” and Julian “Cannonball” Adderley’s gospel-inflected “Sermonette,” complete with some baritone saxophone preaching from Jason W. Marshall. The attention then shifts to the core trio during a take on James Taylor’s “Shower The People” that shifts focus from nuanced texture painting to slick-and-slippery funk. Drummer Sylvia Cuenca steals the show on a burning “No Moon At All,” trumpeter Tatum Greenblatt steps up to the plate on “I Just Can’t Stop Loving You,” and alto saxophonist Patrick Cornelius gets to shine on Gold’s lively-and-bouncy “Fantified.” This mostly-covers set finishes with two more, as a smoking “Cubano Chant” and comfortable “Charcoal Blues” finish things off in style.
Steve Fidyk
Heads Up!

Drummer Steve Fidyk is best known for his sideman and studio contributions, writing for Modern Drummer magazine, and work with the Taylor/Fidyk Big Band. Here, he makes his bones with the Posi-Tone gang by fronting a quintet that features a pair of heavy-hitters—trumpeterTerell Stafford and saxophonist Tim Warfield. The program contains four Fidyk originals, two numbers from guitarist Shawn Purcell, and three covers.

Heads Up!, like the aforementioned Charette album, doesn’t start out with the most distinctive music on the disc. It’s the first cover—”Make Someone Happy”—that, strangely enough, gives Fidyk’s music its own identity. A muted Stafford draws focus as Fidyk’s brushes glide along below. From that point on, most everything makes its mark. Purcell’s guitar and Regan Brough’s bass join together for the Charlie Parker-ish “Might This Be-Bop,” which is also bolstered by Fidyk’s brushes, and Stafford picks up his flugelhorn for an uncommonly slow and beautiful take on “I Can See Clearly Now.”

Fidyk’s most notable originals—”The Flip Flopper,” a funky tune with some memorable guitar work from Purcell, and the warm-hearted “T.T.J.”—come later in the album, but it’s Cole Porterthat has the final word; Fidyk and company finish with a metrically-altered “Love For Sale” that’s pure fun.

Tom Tallitsch

Saxophonist Tom Tallitsch focuses on his own music on his second release on Posi-Tone and fifth date as a leader. He throws in David Bowie’s “Life On Mars” and Led Zeppelin’s “Ten Years Gone” for good measure, but the other nine tracks are all of his making.

Tallitsch proves to be a commanding player throughout Ride, but it’s the sidemen that help to bring out the best in the music. Rock solid players like pianist Art Hirahara and bassistPeter Brendler help to keep things running smoothly, guest trombonist Michael Dease brings the heat, and Rudy Royston, the seemingly ubiquitous super drummer, adds some wattage to Tallitsch’s tunes. Royston’s in high spirits on the title track and he drives the hell out of a few other numbers.

While the faster material always carries excitement with it, Talitsch’s strongest pieces aren’t the burners. “Rain,” which Tallitsch accurately frames as “gospel country,” the Brazilian-tinged “El Luchador,” which gives Dease a chance to shine, and the bluesy “Knuckle Dragger” all leave more of a lasting impression on the ear.

Tracks and Personnel

Square One

Tracks: Aaight!; If; Three For Martina; People On Trains; True Love; Ease Back; Time Changes; A Fantasy; Yei Fei; Things You Don’t Mean; Ten Bars For Eddie Harris.

Personnel: Brian Charette: organ; Yotam Silberstein: guitar; Mark Ferber: drums.


Tracks: Pendulum; Spirits; Sermonette; Shower The People; No Moon At All; I Just Can’t Stop Loving You; Fantified; Cubano Chant; Charcoal Blues.

Personnel: Jared Gold: organ; Dave Stryker: guitar; Sylvia Cuenca: drums; Patrick Cornelius: alto saxophone; Jason Marshall: baritone saxophone; Tatum Greenblatt: trumpet.

Heads Up!

Tracks: Untimely; Last Nerve; Make Someone Happy; Might This Be-Bop; I Can See Clearly Now; The Flip Flopper; The Bender; T.T.J.; Love For Sale.

Personnel: Steve Fidyk: drums; Terell Stafford: trumpet, flugelhorn; Tim Warfield: tenor saxophone; Shawn Purcell: guitar; Regan Brough: bass.


Tracks: Ride; Life On Mars; Rubbernecker; Rain; The Giving Tree; Ten Years Gone; El Luchador; The Myth; Knuckle Dragger; The Path; Turtle.

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease; trombone; Art Hirahara: piano; Peter Brendler: bass; Rudy Royston.

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The Jazz Word on Jared Gold “Intuition”…

Jared Gold’s latest for Posi-Tone Records is an electrifying organ trio release featuring the highly proficient purveyor of classic B3 sounds with the aid of guitarist Dave Stryker and drummer McClenty Hunter. Along with a slew of original pieces by Gold and Stryker, the disc features convincing renditions of two Carol King gems, “You’ve Got a Friend” and “Will You Still Love Me Tomorrow.” The latter makes for a swinging opener and maintains the feel-good vibe of the familiar Shirelles recording. Gold’s funky “Hoopin’ on Sundays” and Stryker’s uptempo “Shadowboxing” contain some of the disc’s most inspired blowing.

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Music and More reviews Jared Gold “Intuition”…

This is a light and nimble organ unit featuring Jared Gold on the Hammond B-3, Dave Stryker on guitar and McClenty Hunter on drums. This album feels like a real leap forward for Gold, he is channeling more energy than on previous releases and letting loose a strong Larry Young influence that serves him well. The middle section of the album is where they strut their stuff the best, beginning with “Hoopin’ On Sundays” where Gold develops strong, pulsating organ with strong drum interplay to excellent effect. “Shadowboxing” is a dynamic performance that comes storming out of the gate with a strong progressive feel (Young’s influence is felt particularly strongly here) but the musicians are well in control and able to throttle back and forward the intensity as necessary. Hunter gets a nice spot to shine on “Bedo’s Blues” with is nimble drumming supporting viscous organ before they both deftly drop into a perfect pocket for Stryker’s guitar interlude. “Right Nowish” has a very cool rhythm and blues vibe to it with a quicksilver guitar solo paving the way for Gold’s most interesting statement of the record, grinding the organ, digging deep, and testing his imagination.

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SomethingElseReviews! on Jared Gold “Intuition”….

One of the great things about jazz is that some jazz musicians can just get together in a studio and knock out tunes and resulting record can be just as enjoyable as a carefully constructed, meticulously planned affair…

A stalwart at the quality mainstream jazz label Posi-Tone Records, Gold has consistently encapsulated what is so great about the Posi-Tone catalog: he’s well-schooled in tradition, brings vigor and his own voice to the music, and he swings like the dickens. That’s why we’re here talking about his sixth record overall and the forth one in a row covered on this space….

A straight-up first-rate blowing session with plenty enough wrinkles in it to ward off that sameness feel, Intuition is another productive day at the office for Jared Gold.

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Brent Black reviews Jared Gold “Intuition”…

Organ trios are all the rage once again. This retro throwback has made a comeback in a big way. Joey De Francesco, Pat Bianchi and now Jared Gold are and continue to raise the bar for aspiring players and those that have been on the scene for some time. 

Two aspects of Gold’s playing move him to the front of the pack and these include an innate gift of swing as well as a harmonic foundation that allows Gold to express his own musical identity without doing a riff on someone one else. Gold takes his cue from players such as Larry Young and Jack McDuff along with the great Don Patterson to ultimately do a riff on himself. The musical pedigree of Gold can and should be the envy of other players attempting to master his craft. John Abercrombie, Ed Cherry, and Ralph Peterson are but a handful of names one can drop when discussing the contemporary greats Gold has shared a stage with. 

With the new release Intuition which is a righteous groove from open to close, Gold is accompanied by the great Dave Stryker on guitar and one of the most under appreciated drummers in the formidable McClenty Hunter on drums. Another side project for Gold has been the manufacture of what can best be described as a portable B3 which is best described in the link below:

An instructional type video is included in the link and this quality piece of gear is a must for the local and or traveling musician. Be sure and check out The demands of an off the hook touring schedule were the catalyst that inspired the development of this organ controller and now Gold is marketing these to the public. 

Gold performs with his own group, side work with John Abercrombie ( I had the honor of interviewing ) along with Dave Stryker, Oliver Lake, Ralph Bowen and David Gibson. If James Brown was the hardest working man in show business then Gold may be a close second. 

Intuition is a groove infused pocket driven jam that is arguably Gold’s finest work to date. Take some Gold originals that sound like “standards” on deck and then toss in some soulful and soul filled covers including “Will You Love Me Tomorrow?” and another Carol King classic “You’ve Got A Friend” and you get dangerously close to sonic nirvana ( no pun intended ). The Dave Stryker original “Bedo’s Blues” closes the release and captures the essence of what a organ trio that swings is all about. The Gold original “The Crusher” is an apt description if not one word review of this release. Jared Gold crushes Intuition!

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Thomas Conrad reviews Ralph Bowen “Total Eclipse” for JazzTimes…

Ralph Bowen plays a pure strain of postmodern tenor saxophone. He is hugely proficient technically and consistently spills his guts. Take “Into the City.” Its quick, jagged, asymmetrical head is like a call to arms. Bowen builds from a few repeated adjacent tones to long convoluted lines that sound like onslaughts until you hear that they are actually sets of subtle variations (if in-your-face tenor can be subtle).

It follows that he makes good records. His three most recent, Power Play Due Reverence and Dedicated , all on Posi-Tone, were aesthetic undertakings as tenor saxophone clinics. Total Eclipse might be his best yet. It has Bowen’s hottest band ever.

The guys are relatively new. Jared Gold is an organist who maximizes the resources of his instrument. When he and Bowen combine for maximum unison power, as on “Exosphere,” this quartet hits like a big band. When Gold unleashes the full force of the B3 on a wild, roaring piece like “Hip Check,” he does not so much comp as slam and bash behind Bowen, catapulting him forward. Yet Gold also takes solos of glittering detail and piquant discord, as on “In My Dreams.” Mike Moreno is a free thinker on guitar. He complements the ensemble sound with off-center pinpoints of light, and takes intriguing, ambiguous solos. Rudy Royston, who plays free drums in the tenor trio of JD Allen, operates in a more defined, organized role with Bowen. But he still sounds dangerously volatile.

There are eight strong tracks and one tour de force. Bowen’s dash through the head of “Hip Check” is impossibly fast and exact, then he improvises at the same rapid data rate. Royston rockets; Moreno ululates; Gold shrieks. Bowen rivets the theme into place at the end. Another day at the office.