Rale Micic's heartwarming fusion of heritage, taste, and jazz guitar sophistication shines on
Only Love Will Stay
It goes without saying, though we’ll say it once, right from the top here, that Rale Micic is a unique voice in jazz guitar. He combines an absurdly melodic approach and an intricate insight into harmonies, with a sort of deep personal story from his native Serbia. His life experience and heritage exert a soft and loving influence on his artistic approach: the rhythm, tone, and feel of the music of his life. This approach, in the works for a while now, culminates on his new recording, Only Love Will Stay.
Micic has played with such artists as Tom Harrell, Don Friedman, Peter Bernstein, Eric Alexander, and Greg Hutchinson, but it’s the striking originality with which he plays his own music that really distinguishes him from other jazz guitar talents. The session, with Jared Gold on keys and Geoff Clapp and Johnathan Blake on drums, is both relaxed and substantial, joyful and chill, starring the filigreed sounds of Micic’s Sadowsky archtop and the tasty choices of empathic accompanists. “I first played with Johnathan Blake when we were in Tom Harrell’s group,” says Micic. “We have been playing together for over 10 years and he was also on my previous album, Night Music. Geoff is another great drummer and we have toured and played quite a bit in the last four, five years. It’s great how both of them brought something special to the music. This is the first time I worked with Jared Gold, but it felt so nice and easy. I think the musical chemistry is pretty apparent.”
Only Love Will Stay features Micic and the band creating layers of original sounds, featuring a backbone in acoustic jazz ala John Abercrombie, the intricate textures of his internal conversations, and continuing through the loving melodic rhythms of his native Serbia. “Early on,” he says, “I loved listening to the very different way that John Abercrombie was using organ with his groups and keeping it very open and cool sounding. So, I guess this record is a nod to John. He was a big influence on me. I was fortunate to play and record with him before he passed away. That’s one of the reasons I included his song ‘Even Steven’ on the album.”
Elsewhere, tunes like the dark and dramatic title track which opens the record, right through to the lush, atmospheric closer “Lipe Cvatu,” in 7/8, are enrapturing without going too far astray, too deep into the margins. They are intoxicating without over-exerting. Micic’s Only Love Will Stay is a joyful experience and a stunning excursion into the mind of a truly original artist.
After last year’s successful big band outing, Blue Soul, guitarist Dave Stryker is back with his hard-driving, deepgrooving B3 organ group on his new recording—Baker’s Circle. With the addition of cutting-edge tenor player Walter Smith III, Baker’s Circle features Stryker’s originals as well as a couple Eight Track gems and a tip of the hat to his former boss Stanley Turrentine. Along with Smith III, this fresh recording features Dave’s working band of Jared Gold on organ and McClenty Hunter on drums and adds Cuban percussionist Mayra Casales to three tracks as well.
Baker’s Circle starts with three Stryker originals. The hard-hitting “Tough” leads off with exciting solos by the whole band. Casales’ congas join in on the latin groove of “El Camino” followed by the bluesy 7/4 of “Dreamsong.” Cole Porter’s “Everything I Love” is a medium swinger after which Gold’s burning “Rush Hour” shows why Walter Smith III is considered one of the best of his generation. And Dave adds his Eight Track fingerprint to Leon Russell’s “Superstar” and Marvin Gaye’s “Inner City Blues.”
Says Stryker:“Composer and educator David Baker was in my corner from the time I met him at a jazz camp when I was 17 till he hired me to take over as guitar professor at Indiana University a few years ago. I used to see him standing outside the Music School on a circular drive waiting for is wife Lida to pick him up. I named the song ‘Baker’s Circle, in his memory.”
Baker’s Circle closes with “Trouble (No. 2),” a grooving shuffle originally recorded by Stryker’s former boss, the great Stanley Turrentine. This caps a diverse program that showcases Stryker at his best—modern playing with the groove and soul that comes from years of experience.
Most jazz fans have encountered the unfortunate scenario of being thrilled by the names on an album cover but then being disappointed by the music. That is definitely not the case with the new leader project from Jared Gold, which showcases the versatile organist and his all-star band: guitarist Dave Stryker, drummer Billy Hart and trumpeter Jeremy Pelt. Stryker, who also produced the album, has a 14-year history with Gold, and his simpatico rapport with the organist spices up the proceedings, as each musician frequently adds clever coloration when the other is unleashing a sturdy solo. Hart—whose subtle brushwork is just as mesmerizing as his powerful stick-work in this program—demonstrates the mastery that has made him a legend. Pelt, who adds potent brass to three tracks, elevates this disc: Without him, these sessions might have yielded a memorable trio disc, but with him on board, the result is one of the strongest straightahead discs of the year thus far.
This band certainly can burn, as evidenced by the title track (which was penned by the leader), but a poignant reading of The Beatles’ “She’s Leaving Home” reflects Gold’s ability to tug at the listener’s heartstrings with a melancholy mood. Gold has curated a wonderful, eclectic program that features two Gershwin tunes (“It Ain’t Necessarily So,” “How Long Has This Been Going On”), Ornette Coleman’s “Blues Connotation,” Stevie Wonder’s “Lookin’ For Another Pure Love” (from 1972’s Talking Book) and “One For John A,” a swinging, original tribute to the late guitar icon John Abercrombie, with whom the organist worked for years. Gold and Stryker can ignite fireworks at will, but on this rendition of “It Ain’t Necessarily So,” both musicians coax a vocal timbre out of their respective axes. Nicely done, gentlemen. (Bobby Reed DownBeat Magazine Editor's Pick)
...one of the year’s strongest titles to date and upon repeated listening gets so much more enjoyable. (CJ Shearn Jazz Views)
...this is a CD that will be loved by Hammond fans, and highlights Gold’s talents as both a creative organist as well as arranger. His talents have matured and hopefully we’ll see more exploratory efforts from Jared well into the future. (Jeff Know Audiophile Audition)
Billy Hart, on drums, fuels the first and title tune, “Reemergence” composed by the featured artist, Jared Gold. Gold is a fresh, jazz -organ, recording artist making waves on the East Coast. This is his eighth recording, and he’s surrounded himself with a group of excellent musicians to support his musical concepts. Dave Stryker is not only a proficient guitarist, but a record producer with his own label, a composer and a very busy New York musician. Drummer, Billy Hart, is legendary and was once the drummer of choice with the great Jimmy Smith. Trumpeter, Jeremy Pelt, is a refreshing addition to the organ trio. The first thing that stands out about Jared Gold is his ability to take familiar songs like Stevie Wonder’s “Lookin’ For Another Pure Love’ or the Lennon/McCartney standard, “She’s Leaving Home” and turn them into harmonically fresh works of art. Gold’s creativity with harmonics is formidable. Gold started out as a piano player, but quickly found his expressive niche on the organ. He was born in Englewood, New Jersey February 27, 1980 and has worked extensively with Oliver Lake and John Abercrombie. This ninth album as a leader solidifies his unique approach to his instrument and his excursions into arrangements that are unique, like the title tune that roots itself in an unusual fourteen-bar blues pattern. On the tune, “Sweet Sweet Spirit” he takes us to church. Songs like “Ornette Coleman’s Blues Connotations” show the listener that he can groove with the best of them and also gives Hart an opportunity to break free and exuberantly solo on the drums. Jared Gold comes into sight and prominence once more, just like the title of this CD proclaims. (Dee Dee McNeil LA Jazz Musical Memoirs)
Recently voted the Top Rising Star on organ in an annual Downbeat poll, NYC based B-3 visionary Jared Gold fashions a dynamic through line to the generation of jazz organ that inhabits his muse by including, on his Strikezone debut Reemergence, legendary drummer Billy Hart, who got his start in the 60s with Jimmy Smith.
Ensembling again with guitarist Dave Stryker (who also produced), and adding trumpeter Jeremy Pelt to the fold, Gold creates an explosive melodic and rhythmic master class on the organ’s wide-ranging possibilities. He re-imagines Stevie Wonder, The Beatles, Gershwin, an Ornette Coleman blues classic and a renowned church song – but saves his most imaginative expressions for his easy swinging tribute to John Abercrombie (who he played with for a few years) and Stryker’s adventurous closer “Nomad.” (Jonathan Widran JWVIBE)
Jared Gold is one of the most harmonically creative and grooving of the new generation of organists working today. Although influenced by the greats of the past, Jared is taking the organ into the future with his own sound. With his latest project Reemergence, Jared returns with new compositions, ideas and arrangements since his last recording Metropolitan Rhythm for Posi-Tone Records three years ago. Joining Jared are drum legend Billy Hart, (who started with Jimmy Smith in the 60 s) guitarist Dave Stryker and trumpeter Jeremy Pelt. This is a working trio with many gigs under their belts, and the communication is strong. Adding Jeremy Pelt, one of the finest of the new trumpeters, was an inspiring choice. Dave Stryker: I first met Jared at Cecil s Jazz Club in 2004, and having played with many of the great organists myself, I immediately heard that this was a young man who was already establishing his own original voice. He has been a member of my trio ever since.
Born in Englewood, New Jersey on Feb. 27th, 1980, he attended William Paterson University studying piano before switching exclusively to organ. He is a big part of the New York scene and has worked with many of the greats including Oliver Lake and John Abercrombie. He has recorded 8 CDs as a leader, is a sidemen on many more and recently won Top Rising Star Organist in Downbeat magazine. As always, Jared puts his own individual stamp on the music. His originals have unique harmonic twists and turns. Reemergence is a burning line that leads into a 14 bar blues form. One for John A. is dedicated to the late, great guitarist, whom Jared worked with for several years. Gold s skills as an arranger are evident on his treatment of Stevie Wonder s Looking for Another True Love (putting a classic groove on it that would make Jack McDuff proud) and the Beatles ballad She s Leaving Home, along with the standards It Ain t Necessarily So, and How Long Has This Been Going On. No organ trio record would be complete without a blues and Ornette Coleman s Blues Connotation is a piece that Jared first played with Abercrombie. Jared s church gigs inspired his gospel arrangement of Sweet Sweet Spirit, and he closes the set with Nomad, a Dave Stryker original Billy puts his inimitable signature on as he did on Stryker s first record First Strike in 1988. On Reemergence Jared Gold shows once again why he is one of the new greats of the organ.
Most jazz fans have encountered the unfortunate scenario of being thrilled by the names on an album cover but then being disappointed by the music. That is definitely not the case with the new leader project from Jared Gold, which showcases the versatile organist and his all-star band: guitarist Dave Stryker, drummer Billy Hart and trumpeter Jeremy Pelt. Stryker, who also produced the album, has a 14-year history with Gold, and his simpatico rapport with the organist spices up the proceedings, as each musician frequently adds clever coloration when the other is unleashing a sturdy solo. Hart—whose subtle brushwork is just as mesmerizing as his powerful stick-work in this program—demonstrates the mastery that has made him a legend. Pelt, who adds potent brass to three tracks, elevates this disc: Without him, these sessions might have yielded a memorable trio disc, but with him on board, the result is one of the strongest straightahead discs of the year thus far.
This band certainly can burn, as evidenced by the title track (which was penned by the leader), but a poignant reading of The Beatles’ “She’s Leaving Home” reflects Gold’s ability to tug at the listener’s heartstrings with a melancholy mood. Gold has curated a wonderful, eclectic program that features two Gershwin tunes (“It Ain’t Necessarily So,” “How Long Has This Been Going On”), Ornette Coleman’s “Blues Connotation,” Stevie Wonder’s “Lookin’ For Another Pure Love” (from 1972’s Talking Book) and “One For John A,” a swinging, original tribute to the late guitar icon John Abercrombie, with whom the organist worked for years. Gold and Stryker can ignite fireworks at will, but on this rendition of “It Ain’t Necessarily So,” both musicians coax a vocal timbre out of their respective axes. Nicely done, gentlemen. (Bobby Reed DownBeat Magazine Editor's Pick)
...one of the year’s strongest titles to date and upon repeated listening gets so much more enjoyable. (CJ Shearn Jazz Views)
...this is a CD that will be loved by Hammond fans, and highlights Gold’s talents as both a creative organist as well as arranger. His talents have matured and hopefully we’ll see more exploratory efforts from Jared well into the future. (Jeff Know Audiophile Audition)
Billy Hart, on drums, fuels the first and title tune, “Reemergence” composed by the featured artist, Jared Gold. Gold is a fresh, jazz -organ, recording artist making waves on the East Coast. This is his eighth recording, and he’s surrounded himself with a group of excellent musicians to support his musical concepts. Dave Stryker is not only a proficient guitarist, but a record producer with his own label, a composer and a very busy New York musician. Drummer, Billy Hart, is legendary and was once the drummer of choice with the great Jimmy Smith. Trumpeter, Jeremy Pelt, is a refreshing addition to the organ trio. The first thing that stands out about Jared Gold is his ability to take familiar songs like Stevie Wonder’s “Lookin’ For Another Pure Love’ or the Lennon/McCartney standard, “She’s Leaving Home” and turn them into harmonically fresh works of art. Gold’s creativity with harmonics is formidable. Gold started out as a piano player, but quickly found his expressive niche on the organ. He was born in Englewood, New Jersey February 27, 1980 and has worked extensively with Oliver Lake and John Abercrombie. This ninth album as a leader solidifies his unique approach to his instrument and his excursions into arrangements that are unique, like the title tune that roots itself in an unusual fourteen-bar blues pattern. On the tune, “Sweet Sweet Spirit” he takes us to church. Songs like “Ornette Coleman’s Blues Connotations” show the listener that he can groove with the best of them and also gives Hart an opportunity to break free and exuberantly solo on the drums. Jared Gold comes into sight and prominence once more, just like the title of this CD proclaims. (Dee Dee McNeil LA Jazz Musical Memoirs)
Recently voted the Top Rising Star on organ in an annual Downbeat poll, NYC based B-3 visionary Jared Gold fashions a dynamic through line to the generation of jazz organ that inhabits his muse by including, on his Strikezone debut Reemergence, legendary drummer Billy Hart, who got his start in the 60s with Jimmy Smith.
Ensembling again with guitarist Dave Stryker (who also produced), and adding trumpeter Jeremy Pelt to the fold, Gold creates an explosive melodic and rhythmic master class on the organ’s wide-ranging possibilities. He re-imagines Stevie Wonder, The Beatles, Gershwin, an Ornette Coleman blues classic and a renowned church song – but saves his most imaginative expressions for his easy swinging tribute to John Abercrombie (who he played with for a few years) and Stryker’s adventurous closer “Nomad.” (Jonathan Widran JWVIBE)
Jared Gold is one of the most harmonically creative and grooving of the new generation of organists working today. Although influenced by the greats of the past, Jared is taking the organ into the future with his own sound. With his latest project Reemergence, Jared returns with new compositions, ideas and arrangements since his last recording Metropolitan Rhythm for Posi-Tone Records three years ago. Joining Jared are drum legend Billy Hart, (who started with Jimmy Smith in the 60 s) guitarist Dave Stryker and trumpeter Jeremy Pelt. This is a working trio with many gigs under their belts, and the communication is strong. Adding Jeremy Pelt, one of the finest of the new trumpeters, was an inspiring choice. Dave Stryker: I first met Jared at Cecil s Jazz Club in 2004, and having played with many of the great organists myself, I immediately heard that this was a young man who was already establishing his own original voice. He has been a member of my trio ever since.
Born in Englewood, New Jersey on Feb. 27th, 1980, he attended William Paterson University studying piano before switching exclusively to organ. He is a big part of the New York scene and has worked with many of the greats including Oliver Lake and John Abercrombie. He has recorded 8 CDs as a leader, is a sidemen on many more and recently won Top Rising Star Organist in Downbeat magazine. As always, Jared puts his own individual stamp on the music. His originals have unique harmonic twists and turns. Reemergence is a burning line that leads into a 14 bar blues form. One for John A. is dedicated to the late, great guitarist, whom Jared worked with for several years. Gold s skills as an arranger are evident on his treatment of Stevie Wonder s Looking for Another True Love (putting a classic groove on it that would make Jack McDuff proud) and the Beatles ballad She s Leaving Home, along with the standards It Ain t Necessarily So, and How Long Has This Been Going On. No organ trio record would be complete without a blues and Ornette Coleman s Blues Connotation is a piece that Jared first played with Abercrombie. Jared s church gigs inspired his gospel arrangement of Sweet Sweet Spirit, and he closes the set with Nomad, a Dave Stryker original Billy puts his inimitable signature on as he did on Stryker s first record First Strike in 1988. On Reemergence Jared Gold shows once again why he is one of the new greats of the organ.
Dace Stryker is a 2017 DownBeat Critics Poll Finalist
Advance Praise For Strykin' Ahead
If you have chops like Dave’s; his musical sensibilities; his uncanny ability to put together interesting instrumentations; his skill at selecting just the right band mates to make Jazz with; wouldn’t you want to work all the time, too?
It becomes like anything you’re good at; you want to do it as often as possible but occasionally vary the context to keep it from getting stale.
– Steven Cerra Jazz Profiles
A real burner of a set, it feels like an artifact from the past, unreleased from Bluenote/Verve, but it’s modern, contemporary touches are well evident showing how a cat that’s been hitting all the right notes for all these years can’t make a false step now.- CHRIS SPECTOR, Midwest Record Editor and Publisher
I give Dave and his talented crew a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99 for this one… and keep in mind that you heard it here first… this one is BOUND for the awards.
- Dick Metcalf Improvijazzation Nation
A mainstream record of undignified beauty.- Vittorio Lo Conte Musiczoom
1 SHADOWBOXING Dave Stryker (D. Strike Music BMI) 5:59
2 FOOTPRINTS Wayne Shorter (Miyako Music BMI) 6:39
3 NEW YOU Dave Stryker (D.Strike Music BMI) 5:50
4 PASSION FLOWER Billy Strayhorn (Billy Strayhorn Songs Inc ASCAP)
5:33 5 STRYKIN’ AHEAD Dave Stryker (D. Strike Music BMI) 6:12
6 BLUES DOWN DEEP Dave Stryker (D. Strike Music BMI) 7:15
7 JOY SPRING Clifford Brown (Second Floor Music BMI) 8:12
8 WHO CAN I TURN TO Newley/ Bricusse (Musical Comedy Prod Inc BMI) 7:32
9 DONNA LEE Charlie Parker (Atlantic Music Corp BMI) 6:27
DAVE STRYKER guitar
STEVE NELSON vibraphone
JARED GOLD organ
McCLENTY HUNTER drums
The notion of moving forward by triangulating a space between creative and pragmatic imperatives is a consistent thread throughout Dave Stryker’s four decades in the jazz business, not least on Strykin’ Ahead, his 28th CD as a leader. Stryker augments his working trio of Jared Gold on organ and McClenty Hunter on drums with vibraphone player Steve Nelson, all on-board for a second go-round after their stellar contri- butions to last year’s Eight-Track II. Like the leader, Nelson is a preternaturally flexible and in-the-moment improviser with deep roots in the tradition who knows how to push the envelope without damaging the contents. Stryker internalized those imperatives on a 1984-1986 run with Brother Jack McDuff, and he received further invaluable training in the art of musical communication during a decade on the road with Stanley Turrentine, to whom he paid homage on the 2015 release Don’t Mess With Mister T. In contrast to his Eight Track II conception of putting his spin on pop hits of his formative years, Stryker returns to his long-standing practice of presenting originals and reharmonized standards from the jazz and show music songbooks. "Shadowboxing" is a burning 14-bar minor blues; his well-considered chordal variations on Wayne Shorter's "Footprints" proceed to a simmering 5/4 figure. Next is "New You" (a stimulating Stryker contrafact of the oft-played "There Will Never Be Another You"). He personalizes Billy Strayhorn's "Passion Flower," set to Hunter's insinuating bossa-funk groove. The title track “Strykin’ Ahead” has a Cadillac-racing-down-the-freeway-feel; he imbues the lovely melody of "Who Can I Turn To" with the full measure of his plush, inviting tone. That Stryker knows his Albert King is evident on the slow-drag “Blues Down Deep,” which evokes wee-hours third sets in the inner city grills and lounges of Stryker’s apprentice years. He knows his bebop, too. On Clifford Brown’s “Joy Spring,” the solo flights over Stryker’s “modernized” progressions transpire over Hunter’s drum-bass beats and crisp, medium-up four-on-the cymbal; on the chopbusting “Donna Lee,” all members springboard off a churchy vamp and Hunter’s funk-infused swing. “I’ve always wanted to write vehicles that are fun and interesting to blow over,” Stryker says. “Trying to come up with a beautiful melody that lasts is very fulfilling. Writing is a big part of my voice in this music.” Stryker is too modest to say that his voice is also a big part of jazz, to which he’s devoted a career marked by consistent application of the values that he espouses. But that’s all right—I’ll say it for him. (edited liner notes from Ted Panken) Produced by Dave Stryker Executive Producer - Rick Simpson
Engineered and Mixed by Chris Sulit at Trading 8’s Studio, Paramus NJ on June 28, 2016
