Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The Jordan Young Group Put an Original Spin on Organ Jazz

The Hammond B3 revival continues with jazz drummer Jordan Young leading his group through a welcome, unorthodox new album. How unorthodox? Joe Sucato’s tenor sax takes the lead most of the time, fortified by Yotam Silberstein’s guitar while organ innovator Brian Charette holds down rhythm for the most part. Young is a no-nonsense, purist player who, other than a briefly clever excursion during one of the free interludes between the songs here, doesn’t even solo between track one and track eight – and when he does, leaves you wanting more. This is a thoughtful, sometimes mysterious album: a close listen reveals a lot of out-of-the-box thinking and similarly smart, understated playing. These guys aren’t going to blow you away with solos and volume here: this album has plenty of other ways to hold your attention.

They open with Pat Metheny’s H and H – dedicated to the recently closed bagel shop in Metheny’s upper west side neighborhood, maybe? Then they reinvent Every Time We Say Goodbye as a syncopated shuffle, but with the sax’s warmly fluid bluesiness as a lead, Charette building a soul song within his solo (a vibe that will recur here). The most straight-up organ shuffle here, Duke Pearson’s Jean de Fleur, has Sucato nonchalantly sinking his teeth into the deft, understated groove, Charette going for a horn line instead of Jimmy Smith-style funk, Silberstein swooping in to take the energy up a notch. The lone Young original here, Claudes Monet is a warmly optimistic jazz waltz.

Joe Henderson’s Afro-Centric gets reinvented as hazy summer evening groove rather than blazing funk; likewise, Wayne Shorter’s Angola is done as a briskly low-key closing-time theme, Young taking an especially enjoyable, devious turn deciding whether or not to let the band back in. The real gem out of all of these is Sucato’s JF Blues, a wry, catchy, stop-time swing tune – that Charette would quote Booker T. Jones before a neat trick ending pretty much says it all. And Young pretty much disapperas on My One and Only Love, leaving the ballad to the guitar and sax over Charette’s lush yet tersely atmospheric washes and David Lynch outside-the-funeral-parlor solo. The independently released album is available at the usual spots including cdbaby.

July 10, 2011 - Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , ,

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