Tag: Jordan Young

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Get your coins ready for the “Jazz Jukebox” by Jordan Young

One of the strengths of Marc Free’s Posi-Tone imprimatur is that it is responsible for introducing us to many great and upcoming jazz artists. Drummer Jordan Young is a Detroit native who has studied with some of the best of the modern-day masters and is making a name for himself in New York. His sophomore release for Posi-Tone, Jazz Jukebox, is a bristling thirteen-track collection that lives up to its name. There’s a nice smattering of standards, pop ditties, and hard bop chestnuts, each clocking in between three and four minutes. While the brevity of the performances might be construed as a negative on first glance, it actually further ties in with the theme at hand. Think seven-inch 45s with a song on each side and you get the idea.

Two pieces with ties to the classic Blue Note era of the 60s kick off the date. “Son of Ice Bag” figured prominently on Lonnie Smith’s Think album, while Larry Young’s “Paris Eyes” is a gem from the organist’s Into Somethin’. Both receive a contemporary update with Brian Charette‘s iconic organ tone at the forefront. On the bop front, Wayne Shorter’s “E.S.P.” gets a spirited romp bolstered by Young’s dry cymbal beat. Guitarist Matt Chertkoff speaks volumes both in his solid comping and fleet-fingered solo work, his tone and attack sounding like a cross between Melvin Sparks and Pat Martino.

Charette keeps it lowdown and greasy on Jimmy Smith’s “Eight Counts for Rita.” By contrast, he calls up some vibrato and gets that classic ballad feel on “I Want a Little Girl.” Young likes to play with various grooves and manages to put a different spin on such disparate material as the theme from “Love Boat” and Jim Croce’s “Time in a Bottle.” The former starts almost like a second line groove before morphing into a funk beat, while the latter number moves as a high octane waltz.

Tenor saxophonist Nick Hempton can be heard on four of the tracks and doesn’t necessarily add or take anything away from the proceedings. What makes the trio cuts sparkle is the obvious connections these players have developed on the job. Jordan himself doesn’t go out of his way to deliver flashy solos, but instead serves the music with his tasteful interjections. As just one example of many, listen to his tasty fills on the Charette’s toe-tapping “Giant Deconstruction.” Utilizing a vintage Gretsch kit, Young sounds like he’s done his homework. Given even wider parameters, I would love to hear what other things he’s got up his sleeves.

C. Andrew Hovan – All About Jazz

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A polished trio fronted by an articulate drummer is “Jazz Jukebox”

mindset2The predominance of the jukebox in social situations is essentially a thing of the past. But how much has really changed? Those once-ubiquitous machines that brought musical happiness to the good people in corner bars and diners throughout the land may have vanished, but the concept they put forward has not. It’s simply been modernized, with shuffling playlists, random streaming, curated listening parties, and smartly programmed albums like this now carrying the jukebox flame and furthering the mix-it-up musical formula.

Jazz Jukebox is exactly what you’d expect, both based on the title and what drummer Jordan Young cooked up on his first two albums—Jordan Young Group (Self Produced, 2010) and Cymbal Melodies (Posi-Tone, 2012). It’s a diverse program built on sharp and concise arrangements of jazz and pop nuggets. Everything from Thelonious Monk‘s “Rhythm-A-Ning” to Jim Croce’s “Time In A Bottle” and Hugh Masekela‘s “Son Of Ice Bag” to Charles Ira Fox’s campy “Love Boat” makes it into the mix, and nothing overstays its welcome. The longest tracks don’t even crack the four-and-a-half minute mark.

Young keeps things moving here, largely focusing on upbeat material pulled from different corners of the music world. He nods to Larry Young with a performance of the organist’s jaunty “Paris Eyes,” gets his sloshy hi-hat going for a spell on The Beatles’ “I’m Only Sleeping,” prods organist Brian Charette and guitarist Matt Chertkoff during their solos on Wayne Shorter‘s “ESP,” and trades with glee on “Tadd’s Delight.” If that’s not enough variety, there’s also Charette’s “Giant Deconstruction,” an odd-metered, ascending twist on John Coltrane’s “Giant Steps”; Jimmy Smith’s soulful and bluesy “Eight Counts For Rita,” one of four numbers to bring tenor saxophonist Nick Hempton into play; and Chertkoff’s arrangement of “Will You Still Be Mine,” a caffeinated brush feature for the leader.

In choosing to work with Charette and Chertkoff, Young capitalizes on musical relationships that have been fostered over a long stretch of time—basically week in, week out at Tribeca’s Authentic Bar B Flat and other New York haunts. Due to those bandstand-forged connections, this crew is incredibly comfortable in its own skin. That’s something that tends to cut both ways. On the positive side, it makes for a strong team mindset in the music. All the stops, turns, and hits are incredibly tight. The group chemistry also fuels solid groove expressions—swinging, samba-esque, and soulful at different turns—which carry the music forward. The downside with the musical amity between these men is that it sometimes leaves the music wanting for more heat and/or friction. The band occasionally feels too comfortable. But is that really a problem? For most listeners, probably not. Those who dig the idea of sundry selections served up by a bright and polished trio fronted by an articulate drummer will be happy as can be when spinning Jordan Young’s Jazz Jukebox.

Dan Bilawsky – All About Jazz

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D4M reviews Brian Charette’s latest CD “Good Tipper”…

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d4m.com

Brian Charette – Good Tipper

Released by D4 at 4:00 PM
There’s not enough great jazz coming out these days, but this little gem by jazz organist/keyboard player Brian Charette is a great find heading into the new year. You can expect an hour of quality instrumental jazz with Brian and a few talented friends.

We’ll be featuring the title track, an original piece with Avi Rothbard on strings and Jordan Young on percussion. The three create a chemical explosion, an absolute blast of a listen. While they show off their chemistry, they’ll also produce layers perfectly and truly give depth to the finished single.

It’s quick to start with ease and grace, Avi’s guitar dominating the entrance and setting the mood for everyone’s fine talents. The song will keep its upbeat charisma, and sway the listener back and forth through the layers. This piece is ear candy for the jazz aficionado.

Most of the album contains original compositions, and those alone will showcase fine talents and ideas, but the jazz covers are pretty impressive too. The latest single, a cover of Zombies’ Time of the Season, shows their ability to take a classic and spin it in a desirable web.

Streaming this gem is a little more difficult than I’d like it to be, but if you like either of the two released singles you’ll undoubtedly enjoy the rest of the album just as much. If you can, you should give all 12 songs a listen on Spotify. Once you realize Charette’s work is that of the finest quality, after you’ve decided you need to keep up with his future projects, you might want to consider tagging along for easy accessibility. You can find him at Facebook, Twitter, and Google+. 

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Audiophile Audition Reviews “Good Tipper”…

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audaud.com

Brian Charette – Good Tipper – Posi-Tone PR8128, 58:23 ****:

(Brian Charette – B-3 organ; Avi Rothbard – guitar; Jordan Young – drums; Yotam Silberstein –  guitar (2, 4, 7, 9); Mark Ferber – drums (2, 4, 7, 9); Joe Sucato – saxophone (10))

Brian Charette is one of the rising Hammond B-3 jazz stars. He is in demand as a sideman, and has worked with Lou Donaldson, Chaka Khan and Joni Mitchell. Additionally, he has graced jazz recordings with the likes of Bucky Pizzarelli, Mike DiRubbo and Tony Desare, while establishing himself as a rising star on the New York jazz scene. He studied classical music and writes master classes for Keyboard  Magazine. Now with Posi-tone Records, he has released two recordings in the last year, Square Oneand his current album, Good Tipper.

Good Tipper is an organ trio project with a twist. There are two separate ensembles, although the Avi Rothbard (guitar)/ Jordan Young group plays on eight of the twelve tracks. The title cut opens the album with an up tempo blues of a Charette original. Rothbard kicks it off on lead before Charette takes over at :45. His groove vibe is prevalent and he builds some rapid fire solos into the jam. Jordan Young contributes a nifty drum fill. All of this, in three-and-a-half minutes! He aligns with the Yotam Silberstein/guitar and Mark Ferber/drums configuration on the always spooky Rid Argent classic, “Time Of The Season”. Rod Argent has always injected jazziness into his pop hits, and Charette’s style is a perfect fit. The tonality has a Sixties feel to it, and the ensemble play is succinct. Many jazz players have delved into Richard Rodgers material. Charette has chosen the often-covered, “Spring Is Here”. He infuses jauntiness into the arrangement and divides the solos with Rothbard, who showcases his fluidity.

There are many interesting and “fun” selections of covers. “Cuando Cuando Cuando”, the loopy Italian pop song (recorded by many early sixties pop singers) is a surprising treat. Charette maintains the bossa nova, melodic cadence, but delivers some percolating, jazzy runs. It seems like 1962 again. Another unexpected choice is John Barry’s “You Only Live Twice” (from the James Bond movie of that name). Again, the familiarity of the Nancy Sinatra version is re-created with counter-leads by Charette and Silberstein. This is the first of three pop songs, and two Jimmy Webb tunes follow. “Wichita Lineman” was a career defining moment for Glen Campbell. Charette is able to summon the winsome melancholy of the vocals in his play. There is a subtle gospel dynamic to the organ. Silberstein’s sharp notation and improvisation lend a Wes Montgomery-like resonance. On “Up Up And Away” the structure emphasizes the basic hooks of the tune (including the last refrain) and its carefree flow. Webb’s songbook is intricate and well-crafted and receives fresh treatment in the hands of Charette.

There are five original numbers on Good Tipper. “Standing Still” utilizes a swing waltz-time in straight ahead trio play. On a change of pace, “To Live Your Life” is atmospheric with some complex chord progressions. “One and Now” is a lively samba number that expands to quartet with the addition of saxophonist Joe Sucato. Charette unleashes a spirited organ solo before handing it over to Sucato and Rothbard. It is old school bop and it works. The finale is a lively rendition of a classic Joe Henderson opus, “The Kicker”, which gives drummer Jordan Young a well-deserved solo.

Regardless of the stylistic variations, Good Tipper is good jazz!

TrackList: Good Tipper; Time Of The Season; Spring Is Here; Cuando Cuando Cuando; Another Quarter; Standing Still; You Only Live Twice; Wichita Lineman; Up Up And Away; One And Nine; To Live In Your Life; The Kicker

–Robbie Gerson

 

 

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Brian Charette’s “Good Tipper” gets covered by Dusted in Exile….

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dustedmagazine.com

Brian Charette – Good Tipper (Positone)

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Organist Brian Charette keeps the schedule of a shark, always on the move and making things happen. Any lapse in activity and he starts to get bored. The once-a-year release schedule of his old label Steeplechase couldn’t keep pace with his output, a quandary that facilitated a switch to Brooklyn-based Positone that also increased his currency stateside.

Good Tipper follows a playbook similar to its predecessor mixing originals and covers with a lean toward the latter. An unintentional side effect is the feeling that Charette could probably play this stuff in his sleep, but that doesn’t make the results any less groovy, particularly when his choice in covers casts such a wide net and succeeds in cementing an unruffled retro sound. There’s no such thing as a guilty pleasure in Charette’s song reservoir, just catchy melodies and rhythms to be expanded and retooled regardless of their source.

Guitarist Avi Rothbard and drummer Jordan Young complete Charette’s classic B-3 schematic, each player steeped in the deep history of their chosen format. A third of the tracks swap out Rothbard and Young for guitarist Yotam Silberstein and drummer Mark Ferber, both of whom were Charette’s partners on his Positone debut, but the personnel changes do nothing to disrupt the flow of the program. The gliding groove of the title track serves as concise palate cleanser before Charette takes down his first cover, The Zombies’ “Time of the Season.” The ensuing vibe is all mohair suits and Pall Mall menthols via Happy Hour at the Holiday Inn, but Ferber syncopates smoothly and Silberstein comps in the corners in such a way that the three successfully (and somewhat miraculously) circumvent any kitsch.

“Spring is Here” and “Cuando Cuando Cuando” cover the jazz standard and Latin bases respectively before a pair of originals, the first by Rothbard and the following by the leader. “Another Quarter” brings the funk with a heavy film of Hammond grease and the effect is The Meters as dosed on Diazepam. Charette channels his inner-Art Neville as Rothbard picks a luminous single-note solo against a pocket-clinging backbeat. “Standing Still” shakes off tonal opacity in favor of a straightforward groove and it’s another stage-setter this time for the triple-punch of John Barry’s “You Only Live Twice” with “Wichita Lineman” and “Up Up and Away” from the Jimmy Webb songbook. Charette has a ball with all three, bringing a soaring Baptist church vibe to the Bond theme that skirts the edges of operatic excess. The reinventions of the Webb tunes are similarly audacious, fusing an AM Radio populism to the honky-tonk anthems that once again keeps the kitsch in check.

The closing tracks of the program prove just engaging. Saxophonist Joe Sucato lends his velvet horn to the brisk Rothbard samba “One And Nine” as an eleventh hour guest and then disappears. Charette’s relaxed-tempo ballad “To Live in Your Life”, afloat in verdant swells, shimmering guitar chords and pattering brushes contrasts with a rapid, but uncluttered rendition of Joe Henderson’s “The Kicker.” Considered in sum the album is an effort worthy of a listener gratuity greater than the standard 15 percent.

Derek Taylor

 

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SomethingElse Reviews Brian Charette “Good Tipper’…

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SomethingElseReviews.com

Barely six months after issuing his for album for Posi-Tone Records, B3 maestro Brian Charette returns with Good Tipper, another small-combo excursion expected out October 7, 2014 from Posi-Tone Records. Returning with Yotam Silberstein (guitar) and Mark Ferber (drums) for four tracks, Charette works with another guitar/drums combo of Avi Rothbard and Jordan Young for the remaining eight.

Charette doesn’t slow down for this one, he hops to it right out the gate with his original, the title song, a lively tune with the leader playing bop sax lines on his B3. And on “Standing Still,” another one of his compositions, he takes this waltz and manages to make it groove.

Rothbard does more than play guitar, contributing two tunes (“Another Quarter” and “One And Nine”). “Another Quarter” is a 60s-style boogaloo, where Charette’s stinging tone for his solo is another instance of him doing a something a little unexpected. Joe Sucato guests on “One And Nine,” a Brazilian shuffle, and his tenor sax portrays Stan Getz’s own approach to this style. Rothbard’s guitar is no slouch, either; his clean and supple lines makes a good better (check out Richard Rodgers’ “Spring Is Here” for proof).

The covers, which comprise of more than half of the album, makes Charette’s interpretive skills a major focus on this album, and interestingly, he draws heavily from the mid-to-late 60s pop canon. Yep, “Wichita Lineman” is in here, as is another Jimmy Webb classic, “Up Up and Away.” On the former, the song begins to truly soar when Rothbard takes over in the last two and a half minutes, and Silberstein and Charette harmonize well together on the latter. The Zombies hit “Time Of The Season” was also a good choice because it’s an organ-heavy Rod Argent song. Argent is nearly as key of the development or the organ in rock as Jimmy Smith in jazz, and Charette sets himself apart from most jazz organists by drawing from that important influence in equal measure.

Charette adds pizzazz to the Al Martino Brazilian ditty “Cuando Cuando Cuando,” but Silverstein steals the show with his funky technique and comping that is very perceptive of what Charette is doing on organ. The hard swinging “The Kicker” makes it two albums in a row where Charette tips his hat to the later tenor sax giant Joe Henderson. On this one, the last track, Charette sets the place on fire with his right hand runs, and the proceedings are capped off by Young’s hard driving drum solo.

Good Tipper is a return back to organ jazz basics for Brian Charette, who still can’t help putting a refreshingly different spin on things. Nevertheless, he demonstrates here that he’s got the fundamentals down, as he roots down for yet another satisfying outing.

– See more at: http://somethingelsereviews.com/2014/10/05/brian-charette-good-tipper-2014/#sthash.EGeEfurd.dpuf

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Bop n Jazz writes up Brian Charette “Good Tipper”…

Brian Charette Good Tipper Posi-Tone 2014

Good TipperGood Tipper

Bop ‘n Jazz

Brian Charette’s great year ends on a high note with Good Tipper! Insanely good!

There are a lot of fine organ players working the scene, Brian Charette is simply one of the best. Charette’s sophomore release for Posi-Tone is a hard hitting effort that is as soulful and it is soul filled! Two rhythms sections fill out this date and include Avi Rothbard on guitar as well as perennial favorite Yotam Silberstein. Jordan Young and Mark Ferber share the drum chair while saxophonist Joe Sucato makes a welcome cameo. 

While the Charette original “Good Tipper” sets the table, there are some incredible fun covers here (yes…improvisational music should be fun!). The album rock classic “Time Of The Season” along with “Cuando Cuando Cuando” hold a harmonic groove while never moving over to the more easy listening side of the street and this is Charette’s greatest strength as an artist. A lyrical sense of style while allowing the entire ensemble to show off their talents. As tight a band as one might hear. “Standing Still” is another notable contribution from Charette along with the closing Joe Henderson tune “The Kicker.” 

Soulful, funky and with a rock steady consistency there is little doubt Posi-Tune has hit pay dirt with Brian Charette. A must for 2014. 

 

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All About Jazz reviews Brian Charette “Good Tipper”…

 

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AAJ.com

Nine of the eleven tracks on organist Brian Charette’s Square One (Posi-Tone, 2014) were originals, but that doesn’t mean he’s uninterested in tackling the music of others. In fact, judging by this album, it would seem that he really digs digging into covers. Everybody from film score icon John Barry to tunesmith Jimmy Webb to saxophonist Joe Henderson gets a nod during the fun-filled Good Tipper

Charette has built a reputation as one of the most adventuresome yet respectful organists operating today, something that’s evident on this album when you hear him cook on a twenty-bar blues (“Good Tipper”), toy with his sound on a grooving original from guitaristAvi Rothbard (“Another Quarter”), recast a Richard Rodgers classic in five (“Spring Is Here”) or deliver surprisingly straightforward takes on a James Bond theme (“You Only Live Twice”) and a classic from The Zombies (“Time Of The Season”). He’s not looking to simply walk in the footsteps of other organists, but he’s also not out to alter the organ’s position in the jazz firmament. He enjoys pushing, pulling and expanding the instrument’s reach a bit while staying true to the music.

In addition to the aforementioned covers, Charette and company deliver an enthusiastic “Cuando Cuando Cuando,” an album-ending take on Henderson’s “The Kicker,” and two different Jimmy Webb classics—”Wichita Lineman,” which is covered so often it could almost be considered a standard at this point, and “Up, Up And Away,” a number that wreaks of musical kitsch in its decades-old form(s), but sounds just fine when Charette gets done with it. The rest of the program is filled out by pleasing original numbers like “One And Nine,” a lively Rothbard tune that brings saxophonist Joe Sucato aboard, and “To Live In Your Life,” a relatively mellow Charette number.

Two different trios take flight here, as Charette works with Rothbard and drummerJordan Young on eight tracks and turns to guitarist Yotam Silberstein and drummerMark Ferber on the remaining four, but they travel on similar flight paths. The latter rhythm section works its magic on most of the pop-leaning pieces while the former duo helps Charette cover all angles. The music is all solid and appealing, regardless of which trio is at play. Good Tipper=good music.

Track Listing: Good Tipper; Time Of The Season; Spring Is Here; Cuando Cuando Cuando; Another Quarter; Standing Still; You Only Live Twice; Wichita Lineman; Up, Up And Away; One And Nine; To Live Your Life; The Kicker.

Personnel: Brian Charette: organ; Avi Rothbard: guitar (1, 3, 5, 6, 8, 10-12); Jordan Young: drums (1, 3, 5, 6, 8, 10-12); Joe Sucato: tenor saxophone (10); Yotam Silberstein: guitar (2, 4, 7, 9); Mark Ferber: drums (2, 4, 7, 9).

 

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StepTempest reviews Jordan Young “Cymbal Melodies”…

steptempest.blogspot.com

Detroit-native and University of Michigan graduate Jordan Young, drummer by trade, has issued his 2nd CD as a leader.  “Cymbal Melodies” is his debut for Posi-Tone Records and features organist Brian Charette, guitarist Avi Rothbard and, on several tracks, saxophonist Joe Sucato(a member of Young’s “working” band.)  The program consists of 6 “standards”, a pair of jazz tunes, a cover of The Police’s “Roxanne” and 2 original works by the drummer. The CD starts inauspiciously (to my ears) with a “poppy” version Jimmy Webb’s “By The Time I Get To Phoenix” (yes, it’s already considered a “pop” tune but this version sounds like the band is just getting warmed up.) The Trio stokes the fire much better on “Raindrops Keep Fallin’ On My Head” with both Charette and Rothbard responding with plenty of vigor to Young’s percussive prodding.  Sucato adds his smooth tenor sax to a swinging take of Lee Morgan’s “Free Wheelin‘” but it’s the excellent organ solo that catches the ear.  Charette also takes the lead on Young’s boppish “Bird Bath” (don’t think it refers to Charlie Parker) – Rothbard, a native of Israel, digs into a strong solo as well.

Perhaps the most successful cover is the fine re-arrangement of “Roxanne” – the band (Sucato is the lead voice) ignores the Caribbean/reggae rhythm of the original, building the piece on the swirling organ chords and Young’s propulsive drums (he particularly shines beneath Rothbard’s angular solo.)  There’s also a subdued but swinging saxophone-drums take of Irving Berlin’s “Best Thing For Me Is You.”

“Subdued but swinging” is perhaps the best description for “Cymbal Melodies“.  The playing is quite good, the melodies are fine but it all seems to much of a “low-key” affair. However, if you dig the work of Brian Charette, he shines throughout.  For more information, go to www.posi-tone.com.

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Dan Bilawsky writes up Jordan Young “Cymbal Melodies”…

www.allaboutjazz.com

Drummer Jordan Young took the organ quartet outside of its stylistic comfort zone on his debut, Jordan Young Group (Self Produced, 2010), and continues to carve his own path within this format on this enjoyable follow-up. Young reconvenes the quartet from his first leader date, with Avi Rothbard taking the place of guitaristYotam Silberstein, and puts together an appealing, covers-heavy program that speaks to his musical likes and varied interests.

The standard, greasy blues numbers that are de rigueur for organ groups don’t seem to appeal to Young, so he calls on his own musical muses to give him sustenance. He mades it clear that he is a ’60s Blue Note fan, as he turned to the works of saxophonists Joe Henderson and Wayne Shorter on his first leader date, and furthers that disposition here by taking a stab at guitarist Grant Green (“Grantstand”) and trumpeter Lee Morgan (“Free Wheelin'”). Jazz musician standbys like “Easy Living,” taken at a fast clip, and “Ghost Of A Chance,” which belongs to Rothbard’s melodious guitar, fill a few more spots on the playlist, but Young doesn’t stop there. Curveballs, like a funked-up take on Burt Bacharach’s “Raindrops Keep Fallin’ On My Head” and an odd pass at The Police’s “Roxanne,” which eventually falls into organ chaos due to Brian Charette’s madcap machinations, keep everybody on their toes. The inclusion of a saxophone and drum duo take on a tune byIrving Berlin furthers the notion that Jordan Young keeps his iPod and mind on random shuffle.

While eight of the ten tracks presented herein belong to others, Young does manage to throw two of his originals into the mix and both prove to be winners. The comfortable pace and melodious nature of “Bird Bath” contribute to its charm, while “Mood For McCann” has a hip, boogaloo vibe that owes a debt to Morgan’s “Sidewinder,” the slickly appealing work of saxophonist Eddie Harris and the music he made with the presumed namesake of the piece, key tickler Les McCann.

The title of this record, which appears to be a shameful pun on “simple melodies,” rings true in the end. Young delivers another behind-the-kit date that’s all about the music rather than the leader’s muscles; a clear sign of musical maturity and selflessness, if ever there was one.

Track Listing: By The Time I Get To Phoenix; Free Wheelin’; Ghost Of A Chance; Roxanne; Grantstand; Best Thing For You Is Me; Bird Bath; Mood For McCann; Easy Living.