Jorge Nila's Tenor Time

It's been some time since I've received anything from Zoho Records, a few months perhaps, but now three or four titles have arrived just in the last week or two. Jorge Nila's Tenor Time doesn't have the usual connections to South America as other releases from this superb label--Nila is from Omaha, Nebraska and has been a musician here since 1965. But guitarist Dave Stryker, another Zoho mainstay, does have a huge role in this tribute to the great tenor saxophonists of the jazz world. Stryker and Nila have known each other since the '70s, ever since they starting playing together in New York City. Stryker's guitar is a huge part of this recording, taking turns with Nila's sax on lead. It's like watching two old friends have the most interesting of discussions about their adventures in the jazz scene over the last few decades.

Tenor Time is obviously devoted to the great tenor sax masters of the past, but it's more specifically about Lester Young and the other performers he influenced along the way such as Sonny Rollins, Dexter Gordon, Hank Mobley, John Coltrane, Sonny Stitt, Joe Henderson and Harold Vick. Nila and Stryker have made an interesting choice by choosing an organ quartet as an ensemble--they're joined by Mitch Towne on the B-3 and veteran Dana Murray on the drums. The result is a very relaxed and open set, filled with easy renditions of such classics as "Fried Bananas," "Soul Station", "The Everywhere Calypso" and even Stevie Wonder's "Rocket Love."

This ease is somewhat surprising in a tribute to the tenor sax greats, but it's fitting because Nila's style is anything but brash. His sax has a lingering and introspective sound that concentrates on unfolding each phrase in a very deliberate way. Stryker is sensitive to this--I've heard a number of his records by now and he can shred when he wants, but he's taking his cues from his old friend and doubling the sentiment. Towne's B-3 is also measured and gentle and seems to reinforce the dreaminess of the tunes, especially softer arrangements such as Wayne Shorter's "Infant Eyes." Murray's style reflects the other three, of course--a sharp enough whack on a drum head might wake everyone up from this dream, so he keeps it reserved as well.

Does this sound like a snooze? It isn't. There's a careful calibration at work here that is not devoid of energy and excitement. It does result in sound that makes your shoulders drop, but the wise approach of these veterans also gives you plenty to chew on, plenty of touches that should remind you of all those great musicians from the past. That's the purpose of a tribute album, of course, but what's masterful about Tenor Time is the way Nila reconstructs everything into such a pleasing and mellifluous whole. This is gentle jazz, but not "light" or "cool." It has deep emotion at its center, and a stunning history lesson about the tenor sax if you're willing to sit at your desk and be still.

Rachel Caswell's We're All in the Dance

Last week I mentioned how I had just received a batch of "female vocals" jazz recordings that were far above average for one reason or another. After excellent outings from both Melbreeze and Lucia Jackson, we now have a sedate and lovely offering from singer Rachel Caswell--the older sister of noted violinist Sara Caswell (who plays on three of these tracks). Rachel has an easy, relaxed voice that is full of romance. Her range is exceptionally wide, but her sweet spot resides in the upper registers where she clings lovingly to each note, letting them expand generously into the air as if they had wings.

While she's quite the presence here, it's notable that We're All in the Dance is produced by none other than guitarist Dave Stryker, who of course plays here along with keyboardist Fabian Almazan, bassist Linda May Han Oh and drummer Johnathan Blake. Stryker has been a bit of a King Midas in contemporary jazz circles over the last couple of years. His arrangements are always considerate of jazz tradition, even though his talents can be applied to a number of sub-genres--he can play straight out of the songbook or he can add a vigorous, bluesy flavor when needed. The themes here tend toward the delicate, enhancing Caswell's generous and charming interpretations, but Stryker and his sensibilities are up-front most of the way.

Caswell has a serene way of setting herself up on stage, deep within the lush arrangements, but it's also noticeable that she's one of the few modern singers who can scat without adding too much nostalgia. She never barks out those quick cadences, preferring instead to transform those notes into pleasant counterpoints to both Stryker and Almazan. She can also frame these improvisations into odd time signatures with ease and conviction, as if nothing is beyond her talent. That pervasive smoothness, in other words, can be deceptive. It does all sound so easy, but don't assume any of this really is. For instance, you might think she's just another singer taking a swing at the GAS, a little Charlie Parker here and a little Rodgers and Hart there, but listen to the way she takes Sting's "Fragile" and makes it sound like it belongs with the other tunes.

Despite the outward appearance of lightness, Caswell does have a foil here--Blake's drumming is full of a brightly lit energy that often careens into uncharted territory. He never rests until he has added just enough tension to the arrangement to suggest the bittersweet, or even the tempestuous, which mates with Caswell's effortlessness in an almost illogical way. So while Caswell's voice may mesmerize you through the course of this beautiful album, the rest of the ensemble does so much more than add another layer. It's an intriguing blend, and that makes We're All in the Dance even more memorable.

Jared Gold's Reemergence

Jazz guitarist Dave Stryker has been a busy guy. Not only have I reviewed two of his albums, Eight Track II and Strykin' Ahead over the last year or so, he's appeared on a lot of other musician's albums such as Steve Slagle's Dedication. Just yesterday I reviewed McClenty Hunter Jr.'s wonderful new album, The Groove Master, and Dave Stryker co-produced that album and played guitar on a song or two. On Jared Gold's new album Reemergence, Stryker also plays a huge role--he plays guitar on all tracks and he produces. Oh yeah, this album is released on the Strikezone Records label, just like Hunter's. No wonder I received both CDs in the same padded envelope.

As with Hunter's album, Reemergence isn't about Stryker, although his influence is felt more here. Gold plays none other than the Hammond B-3 organ, which has become a major theme for contemporary jazz over the last couple of years. (Or perhaps its presence has been felt for much longer--and I'm just starting to notice and I'm totally digging this renaissance for the instrument.) Reemergence is more lively and brash than Hunter's somewhat moody and thoughtful album and is more consistent with the more rambunctious tone in Stryker's albums. I'm talking, of course, about that Paul Schaffer-esque sound where the guitars and the organ drive the melody in an upbeat and lively manner.

That doesn't sound surprising for the organ to take the lead, obviously, but I have heard B3 players sneak around in the background and provide enormous amounts of texture between solos. Gold is up front, taking turns with Stryker and horn player Jeremy Pelt. Drummer Billy Hart comprises the rhythm section along with Gold, who is working sans bassist and is covering the deep notes with the floor pedals. Working without a bass player isn't unique in the world of jazz (or even rock, as Ray Manzarek will tell you), but it does underline the virtuosity of this type of B3 player.

Unlike Hunter, who played patiently for years before stepping out in front, Gold is an old pro when it comes to making records--Reemergence is his eighth solo album, and he's been featured on many, many others. He has extraordinary taste when it comes to his covers--Gershwin's "It Ain't Necessarily So" and "How Long Has This Been Going On," Ornette Coleman's "Blues Connotation," and even Lennon and McCartney's "She's Leaving Home," which has been totally transformed by the original. It took me a while to place it. He takes a cue from Hunter by covering Stevie Wonder's "Looking for Another Pure Love," which feels like a specific suggestion from Stryker. Gold throws in a couple of exciting originals before paying tribute to Stryker by ending the album with "Nomad."

Stryker has become quite a creative force in contemporary jazz, and he's doing it by lifting up his colleagues and friends and showing the world what they can do. Both The Groove Hunter and Reemergence are strong releases, standouts in a still young 2018, and I look forward to more introductions like this from Strikezone Records.

Dave Stryker's Strykin Ahead Review at Positive Feedback

My review of Dave Stryker's Strykin' Ahead on CD and LP is now live at Positive Feedback! You can read it here.