Jared Gold Pushes the B3 Envelope
In a way, organist Jared Gold is to the Posi-Tone label what Willie Dixon was to Chess: he seems to be on practically all their records. And why not? He’s a good player, and he’s literally never made a bad album. His fifth as a bandleader, Golden Child, has been out for a few months: fans of organ jazz who’re looking for something imaginative and different should check out this unpredictable effort, by far his most original and cutting-edge album to date. His 2010 album Out of Line was 60s vamps; All Wrapped Up, from 2011, was a diverse effort with horns that explored swing, noir and New Orleans styles. This album finds him pushing the envelope a la Larry Young without referencing Young directly: it’s about as far from “Chicken Shack music” as you can possibly get. How radical is this? Rhythmically, most (but not all) of this is familiar B3 grooves, Gold walking the pedals with a brisk precision over drummer Quincy Davis’ terse shuffles; tunewise, a lot of this is pretty far out there. Track after track, Gold defiantly resists resolution, pushing consonance away in favor of an allusive, sometimes mysterious melodic language that changes vernacular constantly. Gold doesn’t stay with any particular idea long – a typical song here goes from atmospherically chordal to bits of warped blues phrasing, hammering staccato atonalities and momentary cadenzas in the span of thirty seconds or less. Guitarist Ed Cherry is the cheery one here and makes an apt foil for Gold, holding the melodic center, such that it is.
The slowly shuffling, syncopated opening take of Sam Cooke’s A Change Is Gonna Come takes the same liberties with the melody that Cooke would take with the rhythm when he sang it live: much of it is unrecognizable, and for the better, it’s not like we need another slavishly reverential cover of this song. The album closes with the most off-center cover of When It’s Sleepy Time Down South you’ll ever hear: although it swings, Satchmo himself might not recognize it. And Gold reinvents Johnny Nash’s cloying rocksteady hit I Can See Clearly Now with more than a little gleeful irony: this twisted reworking is nothing like what you hear in the supermarket. Gold starts with a particularly abrasive setting on the organ, hints at the blues, abruptly shifts from major to minor, all along peppering his digressions with fragments of the original as Cherry pulls it in the direction of Memphis soul (a style he mines here very memorably). The first of the Gold originals, Hold That Thought develops with a vivid sense of anticipation that never delivers any expected payoff, Davis’ flurrying breaks adding to the tension. The title track is all allusion: an out-of-focus ballad, unsettling rhythmic shifts, a nicely casual but biting, chromatically-charged Cherry solo and refusenik blues by Gold. Their cover of Wichita Lineman goes for wide-angle angst for a second before taking the theme in and out a la the Johnny Nash track, over and over before Cherry finally brings it into momentary focus right before the end.
Cherry’s tastefully terse blues and Memphis phrasing serve as sweetness versus Gold’s atonalities on another original, 14 Carat Gold, a sardonic midtempo soul strut. Likewise, their takes on a spiritual, I Wanna Walk and a bit later, In a Sentimental Mood both take familiar tropes and warp them, Gold simply refusing to hit the changes head on: and then, on the Ellington, just as it looks like it’s going to be all weird substitutions and no wave, Cherry dives in with aplomb and sends it out with a jaunty chordal crescendo over Davis’ mini-hailstorm. Underneath the persistent melodic unease, there’s a lot of ironic humor here, most obviously on the practically frantic Times Up, Gold’s pedals sprinting nimbly in 5/4 and then cleverly shifting the tempo straight ahead, Cherry walking through the raindrops, Davis finally getting some space to play sniper, so he machineguns it. It’s a fair bet that years from now, organists will be citing this album as an important moment in the history of the genre – and the devious fun these guys are having becomes more apparent with repeated listening.