Dave Stryker With Bob Mintzer and the WDR Big Band - Blue Soul

Dave Stryker With Bob Mintzer and the WDR Big Band
Blue Soul
Strikezone Records

Guitarist Dave Stryker's latest recording dates from March 2019 when he recorded with the WDR Big Band with tenor saxophonist Bob Mintzer. Mintzer, who serves as the principal conductor for the renowned Cologne, Germany band, provided the arrangements. The material here includes several songs in the vein of the Eight-Track soul and pop songs Stryker has featured in some recent recordings. Also heard are Stryker's originals that are in a similar groove-based manner.

Obviously, there is a difference between Stryker's usual organ jazz combo and a big band. However, the finger-popping, soulful feel of these performances is similar, in part due to Mintzer's handsome arrangements. Stryker is terrific with his lithe single note, horn-like solos set against a relaxed swinging groove. There are several standouts in the big band, including the keyboards of Billy Test (whose organ playing is excellent), drummer Hans Dekker and Mintzer himself.

Standout tracks include renditions of a couple Marvin Gaye songs, "Trouble Man" and, "What's Going On." Karolina Strassmayer is impressive on alto sax while Billy Test plays some funky organ. Stryker's jaunty original "AHA" has a robust Mintzer solo along with one from Stryker. Another original "Blues Strut," has a relaxed marching groove and showcases Test and Mintzer in addition to Stryker's scintillating playing. An unexpected delight is the performance of "Prince's "When Doves Cry," with Stryker's lyrical statement of the melody set against brassy horns. In addition to Stryker's nimble fretwork, alto saxophonist John Hörlén exhibits a dry, bluesy tone.

Against the relaxed swing of "Wichita Lineman," Stryker makes use of the lower register of his guitar to state the theme before Andy Hunter's surging trombone. Mintzer and Stryker are the soloists on Stanley Turrentine's "Stan's Shuffle," that closes this recording. With varied music, Mintzer's terrific arrangements, and the first-rate backing of the WDR Big Band, Dave Stryker's "Blue Soul' is his latest memorable recording.

I received my review copy from a publicist. Here is "Blues Strut" from  this CD.

Kendall Carter Introducing

Kendall Carter
Introducing
LLadnek Music

A Louisville Kentucky native, Kendall Carter is an emerging name on the Hammond B-3. Also an educator, he has caught the ear of guitarist Dave Stryker who produced this recording and played guitar. Kelly Phelps plays drums on this organ trio recording. Kendall cites Jimmy McGriff, Shirley Scott, and Charles Earland as among the inspirations and influences that led to his personal style. This session is mostly of familiar tunes to allow Kendall's audience to get a feel for his playing in a traditional context and with a familiar repertoire.

There is nothing fancy or exotic about this recording. Listeners are treated to a solid, straight-ahead organ jazz trio recording. Things start with a reworking of a Jackson 5 recording, "Blame It On the Boogie," into a striking shuffle as Carter states the theme as Stryker adds chords with Phelps subtly pushing the performance follows. Next up is a rendition of "Afro Blue," with the version quietly building in intensity with Stryker stating the theme while Carter lay down a rhythmic cushion and then solos. Bill Withers' "Lovely Day" allows more interplay between Carter and Stryker, followed by an energetic rendering of Kenny Dorham's "Short Story."

While the tunes may be familiar, Carter's selection of compositions is fresh. Carla Bley's "Lawns" is taken at a very leisurely pace, followed by a sparkling rendition of Lee Morgan's "Speedball." A lovely treatment of Sam River's "Beatrice" followed by a chicken fried interpretation of "This Masquerade Is Over." Carter's original "Punjabi Affair has an intriguing melody line, while Carter's church roots is reflected in "That's All," taken at a languid tempo.

Stryker contributed "Blues For Kendall," which is taken at a walking tempo and provides the album's final showcase for Carter's deep soul organ talents and Stryker's nuanced fretwork. This recording is a notable introduction to a distinctive new voice on the organ and a first-rate jazz organ trio recording.

I received my review copy from a publicist. Here is "Lovely Day."

Dave Stryker - Baker's Circle

Dave Stryker - Baker's Circle - Strikezone Records

I have described some of guitarist Dave Stryker's recordings as "straight-ahead jazz comfort food of a high level." This new release adds Walter Smith III's tenor sax to his organ group of organist Jared Gold and drummer McClenty Hunter. Mayra Casales adds percussion to three of the ten selections. There are four originals from Stryker and one from Gold, along with five interpretations of songs from the likes of Cole Porter, Leon Russell, and Marvin Gaye.

"Tough," a driving blues-flavored number, opens this album with scintillating solos. Stryker is first with his soulful, straight-ahead playing and well-crafted solo. Walter Smith III's tenor sax firs in like a well-tailored suit. He has a robust tone and swagger in his attack like Stryker's former boss Stanley Turrentine. Gold is perhaps overlooked among the organists playing today, but he gets the hot sauce going on this selection. The temperature cools a tad on with the relaxed Latin groove of "El Camino," Smith solos with plenty of gusto here. Then there is the late evening blues "Dreamsong," with fleet, nifty guitar, and big-toned saxophone. 

The relaxed swing of Cole Porter's "Everything I Love" showcases Smith's romanticism, while Gold's "Rush Hour" is a spirited burner with some fiery tenor sax and organ. Leon Russell's "Superstar" may be best known from the Carpenters' recording. Stryker and company deliver a delicately structured performance. The title track was composed in memory of the educator and composer David Baker. Casales provides rhythmic accents to a scintillating performance.

There is also a bluesy shuffle, "Trouble (No. 2)," that Stryker's old boss, Stanley Turrentine, recorded. This song partially evokes the Little Willie John classic "Fever" and finds the group at their soulful, groovy best. It caps another first-rate recording from Stryker and company.

I received my review copy from a publicist.  Here is an interview with Dave Stryker.

Dave Stryker Eight Track Christmas

Dave Stryker
Eight Track Christmas
Strikezone Records

Dave Stryker's Eight Track series of recordings has been straight-ahead jazz comfort food of a high level. Here, guitarist Stryker is joined by vibraphonist Stefon Harris, organist Jared Gold, and drummer McClenty Hunter. On one track of this 10-track CD of Christmas favorites, Steve Nelson replaces Harris on the closing track "O Tannenbaum.".

Like the previous albums, the performances are delightful renditions of familiar songs that are performed with spirit, humor, and imagination. Harris' at times shimmering vibes complements Strykers, fleet lean lines and solo note runs with Gold providing a greasy organ foundation and Hunter pushing the song along crisply. The performances are both melodic and inventive, and the interplay is marvelous. In addition to well-known carols such as "Greensleeves" and "We Three Kings," songs performed include Donny Hathaway's "This Christmas," to John Lennon's "Happy Xmas (The War Is Over)," and "Blue Christmas."

"This Christmas" opens this splendid recording with some dazzling playing followed by "Greensleeves," with Stryker's solo ingeniously working over the changes with Hunter's shimmering cymbals bring the tune to a close. An imaginative rendition of "God Rest Ye Merry Gentleman," is pushed along by Hunter's funk groove. The funk groove also is present on a vibrant "Soulful Frosty," Steve Nelson's mash-up of "Soulful Strut" with "Frosty the Snow Man." There is an alluring, reflective interpretation of Vince Guaraldi's "Christmas Time Is Here," with an enchanting vibes solo. "Sleigh Ride" is an exhilarating romp with Gold's dazzling organ followed by Stryker's scintillating fretwork. Elvis' "Blues Christmas" is given a well-played bluesy interpretation although the tempo drags a bit.

"Eight Track Christmas" is another wonderfully played chapter in Dave Stryker's series. Mixing in familiar material with his arrangements and his superb band, Dave Stryker has a holiday recording with several performances that will be enjoyed year-round.

I received my review copy from a publicist. Here is "O Tannenbaum."

Dave Stryker Eight Track III

Dave Stryker
Eight Track III
StrykeZone

This CD is the third edition of guitarist Dave Stryker's s reimagining of classic pop tunes from the ‘70s with his working trio plus vibes. Vibraphonist Stefon Harris, who told Stryker he needed to complete the trilogy, joins Stryker, organist Jared Gold, and drummer McClenty Hunter on these nine tracks, five of which also have congas and percussion from Mayra Casales. Harris was on the first of these recordings with Steve Nelson being on the second.

Stryker suggests playing these classic melodies is a great way to connect with people and bring more folks into the music. This may be easy to listen to, but that stems as much from this familiarity. Listening to the ensemble and ensemble on the marvelous rendering of Steely Dan's "Pretzel Logic," or the Temptations' hit "Papa Was a Rolling Stone," one gets melodious performances with fresh, imaginative solos. The groove is swinging at a nice measured pace.

Stevie Wonder's "Too High" opens with Stryker's sparkling guitar with a deft touch and thoughtfully constructed solo followed by Harris' effervescent vibes and then Gold's greasy B-3. Then there is The Carpenter's ballad, "We've Only Just Begun," with deliberate, spare playing by Stryker and Harris adding to the preciousness of this ballad performance that is beautifully played at a slow tempo. In contrast, the group plays Burt Bacharach's "This Guy's In Love With You," at a brisker tempo, with Gold superb here. Roy Ayres' "Everybody Loves the Sunshine" is a bright feature for Harris' vibes, while Stryker and company perform a strong, blues-infused rendition of Stevie Wonder's "Joy Inside My Tears," that builds with smoldering intensity leading to its conclusion.

The music here is as entertaining, engaging and substantial as the two earlier volumes and serves as a solid conclusion to the "Eight Track" series if this is indeed the final set of the series.

I received my review copy from a publicist. This review originally appeared in the May-June 2019 Jazz & Blues Report (Issue 384). Here is a recent video of them performing "Papa Was a Rolling Stone."

Jorge Nila Tenor Time: Tribute to the Tenor Masters

Jorge Nila
Tenor Time: Tribute to the Tenor Masters
Ninjazz

Saxophonist Jorge Nila began playing music in Omaha, Nebraska in 1965 and moved to New York in 1978, studying with George Coleman, and working with Eddie Palmieri, Jack McDuff, Paul Simon, and others. He returned to Omaha in 1990 where he is a music educator and performs in Colorado, Kansas City, and the Midwest. On this recording, he is accompanied by guitarist Dave Stryker (who was also playing in the Omaha scene in the 1970s), drummer Dana Murray (also a long time friend whose home studio is where this was recorded), and organist Mitch Towne (who also has worked with Nila, and become one of the strongest B-3 players in the Midwest). They provide the backing for Nila's homage to a number of tenor players he has listened to.

While Lester Young is not represented here, Nila writes that he is the apple tree that has led to the fruit of the tenor players he salutes here. It opens up with a nicely paced version of Dexter Gordon's "Fried Bananas." We get introduced to Nila's warm, fluid playing with Stryker bright single note playing and Towne's straight-ahead organ grease all played at a relaxed, swinging groove that Murray puts down before trading fours with Nila on an exemplary performance. The blues-drenched funk of Hank Mobley's "Soul Station" follows.

In honoring John Coltrane, Nila picked a Tadd Dameron composition, "On a Misty Night," and there is a strong tenor sax solo with his full tone and nicely developed solo, although he displays little Coltrane influence. It is followed by a beautiful rendition of Wayne Shorter's "Infant Eyes," with Towne adding an excellent solo. Stanley Turrentine is honored on a relaxed interpretation of Stevie Wonder's "Rocket Love," with Stryker adding a neat riff in his accompaniment. It contrasts with the strong drive of Joe Henderson's "Inner Urge." Sonny Rollins' "The Everywhere Calypso" allows for a bouncy, Caribbean flavor and a thoughtfully developed thematic solo that suggests Rollins' influence in how Nila solos. Stryker adds a solo here in the manner of Jim Hall with Rollins. Sonny Stitt's "The Eternal Triangle," takes us from bebop to hard bop with more thoughtful and inventive soloing.

Harold Vick's "Our Miss Brooks," is a relaxed, bluesy tenor-organ group shuffle with Towne outstanding followed by Nila playing in a more gutbucket manner followed by Stryker's energetic solo with the band then slowly building the intensity of this gem that closes an excellent recording. Nila has picked some interesting tunes to honor a number of tenor giants and with the superb band, shows himself to be a most formidable saxophonist.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382), although I have made minor changes. Here Jorge is heard with Richie Love performing "On Green Dolphin Street."

Jared Gold Reemergence

Jared Gold
Reemergence
Strikezone

Organist Gold has been a significant part of guitarist Dave Stryker's organ trio along with drummer McClenty Hunter. Among the more recent group of jazz organists, Gold has become a significant part of the NY jazz scene playing with such heavyweights as Oliver Lake and the late John Abercrombie along with Stryker. he has recorded 8 albums although it has been three years since his last as a leader. On this recording, produced by Stryker, legendary drummer Billy Hart joins the pair (and it is a working trio), with trumpeter Jeremy Pelt adding his brass to three of the nine selections. Gold contributed two originals to this recording with others coming from Gershwin, Stevie Wonder, Ornette Coleman, Doris Akers and Lennon and McCartney.

From Jared's opening title track to the closing "Nomad" by Stryker, Gold and his organ trio certainly delight organ jazz fans starting with an unusual blues that Pelt's vibrant trumpet adds fire to the unusual burning blues line. Gershwin's "It Ain't Necessarily So" displays his melodic touch as well as orchestral sound while providing a strong setting for Stryker's dazzling playing. There is a wistful reading of The Beatles' "She's Leaving Home." Pelt is present on "Looking For Another Pure Love," which contrasts with the solid funk of "One For John A," where Pelt adds his trumpet to Gold's chicken shack grease. Hart provides a light Brazilian groove to "How Long Has This Been Getting On," which is followed by a slowed down rendition of Ornette Coleman's "Blues Connotation," where Gold's use of dynamics adds to the impressiveness of the trio's performance.

While organ jazz might be viewed by some as jazz comfort food, one cannot deny how outstanding Jared Gold and trio are on this superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is a short live clip of this trio.

McClenty Hunter Jr. The Groove Hunter

McClenty Hunter Jr.
The Groove Hunter
Strikezone

Familiar to this writer as a member of Dave Stryker's organ trio, drummer McClenty Hunter Jr. studied at Howard University with Grady Tate and Juilliard with Carl Allen. He was a member of Kenny Garrett's Quintet and has played with Lou Donaldson, Eric Reed, Curtis Fuller, Javon Jackson and others in addition to Stryker.I believe "The Groove Hunter" is his first recording as a leader. Produced by Stryker and Hunter, there are some serious players to be heard here including pianists Eric Reed and Christian Sands; bassists Corcoran Holt and Eric Wheeler; guitarist Stryker; trumpeter Eddie Henderson; alto saxophonist Donald Harrison; and tenor saxophonist Stacy Dillard. They collaborate in various combinations on the four Hunter compositions and five interpretations heard here.

There is plenty of fire with Eric Reed dazzling on piano for a driving, fiery trip take of Herbie Nichols' "Blue Chopsticks," with Holt anchoring the performance with Hunter pushing the heated groove. In contrast, Reed is exquisite on Hunter's, "My Love," shifting from a lovely ballad mode to comping behind Dillard's robust, burning tenor sax and then soloing in a Tyner-esque fashion. Wayne Shorter's "The Big Push" has all three of the horns along with Reed and Holt. Dillard's robust tenor sax is impressive while Dr. Henderson delights with his attack. There are also strong statements from Reed and Harrison who plays in a turbulent manner. Stryker is featured on the rendition of Stevie Wonder's "That Girl," with Sands also outstanding on this bouncy performance. Gary McFarland's "Sack Full of Dreams" is a feature for some lovely, delicate playing from pianist Sands and guitarist Stryker, with Hunter employing a light touch. Hunter's drums kick off a brisk version of John Coltrane's "Countdown," with Harrison riveting alto sax with a good portion of the performance being a duet with Hunter before Reed and Holt join in.

Dillard's soprano sax is supported by Reed, Holt and Hunter on the leader's composition, "Give Thanks," on a lovely spiritually rooted performance. It is the close of a fascinating and enthralling recording by Hunter, who shows himself to be a composer of note as well as a marvelous musician who is joined by a superb cast of supporting musicians.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is McClenty Hunter Jr as part of Dave Stryker's band.

Dave Stryker Strykin' Ahead

Dave Stryker
Strykin' Ahead
Strykezone

Guitarist Dave Stryker returns with his 28th album as a leader with the same supporting cast as last year's "Eight-Track II": his working organ trio of Jared Gold on organ and McClenty Hunter on drums augmented with vibraphone player Steve Nelson, the same configuration as on that recording. Unlike that recording's focus on pop hits of decades past, the present album features his originals along with re-harmonizations of several jazz standards.

His time with Jack McDuff and Stanley Turrentine certain are evident on the opening 14 bar blues, "Shadowboxing," with some strong organ in addition to guitar. It is followed by a nice "Footprints," that starts off in an understated fashion with intriguing chordal variations on Wayne Shorter's classic number as the performs starts simmering with a building intensity. Nelson provides a different tonal voice with his shimmering playing here followed by some more impressive guitar with Gold's organ smoldering as the performance reaches its end. Another original follows, the swinging "New You," a contrafact of the oft-played "There Will Never Be Another You," which was inspired by the Blue Note recordings of Larry Young, Grant Green and Elvin Jones.

There is an exceptionally lovely rendition of Billy Strayhorn's "Passion Flower," followed by the lively title track and then another excellent, atmospheric late night blues, "Blues Down Deep," with Stryker's technique, restraint, taste and imagination at the forefront. A bright rendition of Clifford Brown's "Joy Spring," with some lovely unison playing from Stryker and Nelson along with some of Stryker's most scintillating fretwork is followed by a enchanting "Who Can I Turn To," with some peppery guitar, and surging organ from Gold.

The album closes with a spirited "Donna Lee," with fast fluid fretwork along with Nelson's nimble mallets. I haven't mentioned Hunter, but his crisp, imaginative stick work adds rhythmic accents as well as drive these marvelous performances forward. With his latest, Dave Stryker continues to impress with his imaginatively conceived and superbly played recordings.

I received my review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374). Here is Dave Stryker performing at Small's in New York City.

Dave Stryker Eight Track II

Dave Stryker
Eight Track II
Strikezone

This is a followup to guitarist Dave Stryker's 2014 recording "Eight Track." In the notes to that release, Stryker observed that the 70's (the time of eight track decks) was “a time when there was a lot of great pop music going on as well as jazz.” On that album, his trio of organist Jared Gold and drummer McClenty Hunter was augmented by vibraphonist Stefon Harris. Gold and Hunter are back for this date, but once again he has added a vibraphonist to the organ trio, in this case Steve Nelson.

There is plenty of pleasures on this new collection of grooves as he re-imagines songs from The Isley Brothers, Marvin Gaye, Stevie Wonder, The Temptations, Prince, Cream, The Zombies, James Ingram and John Barry. This is music that is breezy, funky and definitely tied to a groove with Nelson adding unusual textures to the unusual twists taken on a reflective "What's Going On," a driving "I Can't Get Next To You," a bouncy "Time of the Season," a dreamy "Midnight Cowboy," a recrafted "Signed, Sealed, Delivered, I'm Yours," and an organ based shuffle reworking of "Sunshine of Your Love," that sounds like something he might have played with Brother Jack McDuff in the 1970s.

Throughout Stryker displays his clean, imaginatively executed playing while Gold digs deep in the grease with Nelson's shimmering vibes provides additional musical delights for this second helping of organ jazz transformations of 70's pop. And let us not forget Hunter's solid swing driving these performances along. We will need to hope for for Eight Track III in a couple years.

I received my review copy from a publicist. This review originally appeared in the September-October 2016  Jazz & Blues Report (Issue 368). I have made minor changes to that published review. Here is "Trouble Man."

 

The Stryker/Slagle Band Routes

The Stryker/Slagle Band (Expanded)
Routes
Strikezone

"Routes" is a new release by an expanded edition of The Stryker/Slagle Band. To guitarist Dave Stryker and saxophonist/flautist Steve Slagle, along with bassist Gerald Cannon and drummer McLenty Hunter are added John Clark on french horn, Billy Drewes on tenor sax and bass clarinet, Clark Gayton on trombone and tuba, and Bill O'Connell on piano (including Fender Rhodes). The full eight pieces are heard on six of the nine performances. Of the remaining three, one is a sextet, one is a quintet and one features the quartet. Stryker and Slagle each contribute four compositions and the ninth piece is from Charles Mingus (Slagle is a significant contributor to the Mingus Big Band), and one can detect Mingus' influence in the hard driving performances contained in this recording.

Certainly the driving "City of Angels," Slagle's salute to his home town, establishes this feel, with the horn voicings contributing to the lively solos from the leaders. Drewes' bass clarinet riff and O'Connell's floating fender rhodes set the mood on Stryker's 'Nothin' Wrong With It," with the interplay and counterpoint between Slagle's serpentine soprano sax and the bass clarinet with Slagle, and then Stryker soloing. The ensemble does a lovely rendition of Slagle's arrangement of the Charles Mingus ballad, "Self-portrait In Three Colors," with the leaders and bassist showcased. Slagle's "Fort Greene Scene," with O'Connell on fender rhodes, evokes  Les McCann in the driving performance. Gayton is featured on trombone and tuba for Stryker's "Great Plains" while Slagle's flute adds coloring to the sounds The quartet performance "Extensity," is a lively blues-rooted "burner" quoting annotator Rick Simpson, while "Gardena," another homage to his home town of Los Angeles from Slagle, is another composition that suggests a definite Mingus influence (hardly unexpected with Slagle's time with the Mingus Big band), with excellent solos from O'Donnell, Slagle, and Stryker and fresh support from the horns.

The closing "Lickety Split Lounge," is a brisk bluesy shuffle named after the lounge where Stryker auditioned for Jack McDuff and joined the legendary organist's group that included Slagle with some hot blowing from the leaders, O'Donnell and trombonist Gayton. It provides a lively coda to this strong recording.

I received my review copy from a publicist. This review originally ran in the March-April Jazz & Blues Report (Issue 365). Here is a video of The Stryker/Slagle Band (Expanded) playing "Great Plains."