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.
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).
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.
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.
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.
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, 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.
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.
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
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.
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.
Saxophonist Patrick Cornelius’s latest CD is Maybe Steps (Posi-Tone, 2011). In this interview, Cornelius talks about the new record as a continuation of his previous full-band writing, after a break for his trio record; why it’s important to him to tell stories during his live performances; his time in the artist diploma program at Juilliard; and the economics of jazz records. Learn more at patrickcornelius.com and follow him on Twitter at @PCorneliusMusic.
Debut from alto saxophonist Shanker and a band of Art Hirahara or Mike Eckroth on piano, Lage Lund on guitar, Yoshi Waki on bass and Brian Fischler on drums.
Shanker writes all the tunes with the exception of the closer, Lenny Bernstein’s Somewhere, and he has a nice full and fruity sound on alto. Born in California, and a student of the Manhattan Schoo, he was snapped up by the Tommy Dorsey Orchestra and has since played in loads of clubs and on loads of sessions, won a composition award and written soundtrack music
Which all goes into making this a most accomplished debut. Listen to him – and the band as a whole – at a rolling boil on Fifth And Berry, and developing some forceful lyricism onRhapsody.
Really good recording sound, too, with the subtlety of Shanker’s timbre particularly lovely on Sarah.
Another alto player, another PosiTone recording, but a different sound and style.
Cornelius is from texas and met drummer Kendrick Scott via the All State Jazz Band. He studied at Berklee, moved to New York and was in the same Manhattan School class as trumpeter Ambrose Akinmusire and pianist Gerald Clayton (who, along with Scott, appears on this disc).
Cornelius has a fine way of composing which determines the improvisation that should go with it. The result is that satisfying state where written parts and solos are blurred in the listener’s ears.
Try Brother Gabriel for size. It borrows some harmonic material from Peter Gabriel’s Here Comes The Flood (hence the title) and is a little beauty of reflection and quiet emotional intensity. Cornelius has a thinner tone than Shanker but is equally eloquent.
Good unclassifiable modern jazz.
New York-based alto saxophonist Patrick Cornelius came of musical age working jazz gigs while he was in Marshall High School in San Antonio. He went on to Berklee College of Music and the Manhattan School of Music, on full scholarships. With Maybe Steps, the follow-up to last year’s trio album, Fierce (which included the song Maybe Steps), Cornelius proves the value of growing up gigging while putting in the schoolwork.
Cornelius has beautiful tone and impeccable technique. He also has a certain impossible-to-teach touch, a way of putting his considerable chops to work for the songs, and for audiences.
And he’s no slouch as a composer. With pianist Gerald Clayton, bass player Peter Slavov, drummer Kendrick Scott and guitarist Miles Okazaki (plus pianist Assen Doykin on one track), Cornelius turns in nine originals along with a cover of George Shearing’s Conception and Kurt Weill’s My Ship
The songs flow beautifully as a piece from the opening Christmas Gift to the closing Le Rendez-vous Final Tempos and textures meet, mingle and mesh, with all the players getting their due while Cornelius’ alto moves from bold to mellow and back. Cornelius is in his early 30s. He’ll keep stepping, no maybe about it.
JIM BEAL JR.