High energy original music. Jazz mixed with elements of swing, latin, funk and beyond.

12 MP3 Songs in this album (77:26) !
Related styles: JAZZ: Contemporary Jazz, JAZZ: Jazz Fusion

People who are interested in Kenny Garrett David Binney Donny McCaslin should consider this download.


Details:
I first encountered saxophonist Shawn Maxwell when a copy of his debut album came into my hands two years ago. My initial reaction was that this artist was rather cocky; his titling of his album as "Originals" seemed at first to be absurdly audacious; but upon listening to it I discovered to my pleasure that his braggadio was true: he was truly an original in that his music was singularly his own and unattached to any particular genre. An artist in this era who doesn't bow to trends, movements, short-sighted public attention spans or purely commercial drives and instead follows his own inner voice is rare indeed. Songs like "Dangerous Curve," "Lunch Box," "Clayton's Carnival" and "The Sixth" presented a glimpse into the highly creative mind of a young man with aspirations and determination in abundance. Therefore, it was with extreme interest that I recently received his second album, Originals II, wherein the "original" elements that initially attracted me to his sound have not only been retained, but amplified with new weight and texture that speaks of experience gained through steady gigging and composing.

This time out, Maxwell has again surrounded himself with a top-notch crew of some of Chicagoâs finest young, up-and-coming musicians: keyboardist Matt Nelson, bassist Graham Czach and drummer Brad Dickert, who comprise his current quartet. These three grads have played together for years, and this familiarity provides tight and effective interplay.

âRiceâ crisply crackles and pops to start things off. Maxwellâs confidence and maturity is evident at once in his airy flights, while Nelson comps with aplomb and Czach and Dickert push the music forward powerfully. Nelsonâs solo is exciting and melodically interesting. âDuck Snortâ is a typical example of the Maxwellian style of presenting intricate melodic themes that kick into a swinging section and back again seamlessly, with a middle section showcasing Nelsonâs acoustic piano mastery. Meanwhile, âInsert Title Hereâ is a pop song waiting to break out from its jazz shell. With Nelsonâs electric piano churning and Maxwell turning in some of his most joyous solo flights over a chorus of overdubbed saxes, this song reminds one of a bright sunny summer day. Guitarist Aaron Koppel joins in the fun here with some tasty licks.

Maxwell shows his range by switching over to flute on the lovely âYear Three.â Czach (perhaps best known for his work with the Chicago Afrobeat Project) plays a lovely bowed bass solo showing heâs not just a solid rhythmic player and Nelson is at his melodic best. The haunting âGrimlockâ is the centerpiece of the album with Dickert displaying his prowess, Nelson shimmering on the keys and Maxwell playing the unusual and interesting lines he is known for. When the saxes kick in the end, I get chills.

The reggae-flavored âWorking Dogâ features trombonist Johanna Mahmud and Maxwell switches to bass clarinet on this fun and flavorful piece that shows another aspect of the Maxwell oeuvre. âMr. Strongbowâ follows and like âThe Sixthâ, on the original Originals, shows Maxwell to be the master of the long line. I first heard this compelling piece performed live several months ago when still a work in progress and knew it would be a successful addition to this recording. The unusually titled âLeatherâ again spotlights Maxwellâs skills on the standard clarinet. With the instrument nearly falling into extinction since the demise of Benny Goodman, itâs good to hear someone taking it seriously and in new directions. Czachâs walking bass is incredible here and Dickert adds a nice solo.

âStormâ rises and flows like a storm cloud across the sky, while âSodorâ again highlights Maxwellâs penchant for using unusual, left-of-center (but not avant garde) note choices in constructing his themes. âZoned Outâ continues the trend, but this time more upbeat and with a solid groove. The album ends with the intriguing âFifth Quarterâ that starts as a beautiful melodious tune and unexpectedly turns into a rave up with the entire band taking things to a fever pitch.

Once again, Shawn has taken things in a new and exciting, and yes, original direction, that the listeners Iâm sure will enjoy, even though they canât pigeonhole him or his music. Donât make the mistake of trying to classify the Shawn Maxwell sound, just sit back and enjoy it because it is good to the last note.

-Brad Walseth of jazzchicago.net