Label: Stoner Hill Records, 2023

Personnel - Myron Walden: alto saxophone, bass clarinet; Melvin Butler: tenor and soprano saxophone; Kurt Rosenwinkel: guitar; Jon Cowherd: piano, organ; Christopher Thomas: acoustic bass, synth; Brian Blade: drums.

In this age of anxiety, there’s nothing better than the tangible musical content of Brian Blade and his amazing Fellowship band to replenish positive energies. The drummer’s seventh recording, Kings Highway, remains with that zen quality achieved with simmering yet soothing measures while effectively blending elements of jazz, gospel and folk music. The album comprises four compositions by Blade, two by pianist Jon Cowherd, and a clean arrangement of the 1882 Christian hymn “God Be With You”. There’s no change of direction in what Blade envisioned for this project in the late ‘90s but rather a deepening of its sense of beauty and maturity.

Blade’s “Until We Meet Again” is outlined with such coalescing and enveloping sounds, which, tempo-wise, convey the sensation of asymmetry due to the way it’s subdivided. The same happens during the 32-beat cycle that takes “Look to the Hills” to a full-hearted finale, but it’s the volatile title cut, “Kings Highway” that stands out as the essence of Blade’s compositional prowess. Open to meter and texture shifts, this wonderful piece includes a fine introductory section, an appealing passage in seven that sustains an elastic solo by the reintegrated guitarist Kurt Rosenwinkel, a luscious gospelized route in support of Christopher Thomas’s tasteful bass statement, fascinating bar trades between saxophonists Myron Walden and Melvin Butler, and a awe-inspiring delivery from Cowherd, whose pianism sprouts with clarity and rapture. And then, the gospel returns to conclude the adventurous journey.

Another rewarding piece is “Migration”, a Blade composition that begins with an evocative drum talk followed by intricate rhythmic accents for a polyrhythmic feel before ending in a superlative collective feast. In the middle, we have walloping chromatic notes pouring out of Butler’s tenor, and a devotional rhythm conduction implemented as a path for Walden’s fervent stretches. It’s amazing how even the most cathartic sections are imbued with warm-heartedness.

Cowherd contributed two pieces: “People’s Park” and “Catalysts”. The former is a ballad, while the latter churns slowly forward with a gently propulsive drumbeat in six that helps it stand firmly within the post-bop frame. By the end, Rosenwinkel excels by dishing out a perfectly pitched synth-infused improvisation over a 14-beat cycle passage with horn fills.

Executed by like-minded musicians, this album demands a closer examination as it conquers hearts with an instinctive and liberating capacity. Revealing more of Blade as a musician, it’s a gem that no one should be indifferent to.

Favorite Tracks:
02 - Catalysts ► 04 - Kings Highway ► 06 - Migration

Label/Year: Blue Note Records, 2017

Lineup – Brian Blade: drums; Myron Walden: alto saxophone, bass clarinet; Melvin Butler: tenor saxophone; Dave Devine: guitar; Jon Cowherd: piano, keyboards; Chris Thomas: bass;

American drummer Brian Blade has conquered many jazz fans with his sophisticated technique, open nature, and instinctual rhythm. His unique touch, never too loud and never too soft, has played a crucial role in projects of likes such as Kenny Garrett, Joshua Redman, Mark Turner, David Binney, and Wayne Shorter. He also built an amazing reputation as a leader of the Fellowship Band, a 20-year endeavor that normally comprises two saxophones, one or two guitars, piano/keyboards, and bass.

Body and Shadow is Blade’s fifth CD with this band, whose regular members include saxists Myron Walden and Melvin Butler, pianist/keyboardist Jon Cowherd, and bassist Chris Thomas. The novelty here is guitarist Dave Devine, a sure-footed Denver-based rock guru, who makes his debut in the group after Daniel Lanois, Kurt Rosenwinkel, Marvin Sewell, and Jeff Parker have occupied the position in the past.

Embracing identical methodologies as in the previous albums, yet cutting a bit in the improvisations in detriment of a more crafted textural work, the band opens with “Within Everything”, a melodious, unfussy piece that carries the lightness of a pop song entwined with the warm melancholy of Americana. I’m quite sure that both Joni Mitchell and Oasis would approve its atmosphere.

The title track was divided into three parts according to the parts of the day. “Body and Shadow (Night)” upholds a flowing chamber jazz quality, enhanced by bass clarinet melodies (expertly handled by Walden), low-toned key vibes, and bowed bass. The guitar, whether translucent or distorted, fingerpicked or strummed, fits perfectly within the uncongested musical scenario. Conversely, the ‘Morning’ part increases the electrified sounds, getting a tangy indie rock bite, while the ‘Noon’ part is a stagnant electro-acoustic episode with emphasis on Devine’s guitar.

Obeying to a 7/4 time signature, “Traveling Mercies” is arranged with compassionate melodies and harmonies that bring some sadness attached. It rekindles the flame during the chorus, in a successful combination of genteel jazz and untroubled folk-rock, as if Joshua Redman has fused with Crosby, Stills, and Nash.

The resplendent Christian hymn “Have Thine Own Way, Lord” was subjected to two opposite treatments. The first was ‘sung’ exclusively by Cowherd's harmonium, and the second devotionally orchestrated according to Blade’s categorical arrangement.

The syncopated rhythms that initiate “Duality” are also velvety. They are an integral part of a magical soundscape, which, even shifting along the way, maintains both the consistency and stability. The improvisations are further extended here, beginning with Cowherd, who pulls out interesting melodic lines over exuberant chord changes. Giving the best sequence to a short bridge, packed with horn unisons and counterpoint, it’s Walden who, taking advantage of the recently appeared balladic tones, makes his alto saxophone cry and beseech intensely within an outstanding, repeatedly motivic post-bop language.

Holding an absolute control of tempo, “Broken Leg Days” closes the session, flowing elegantly while Blade's drumming brings together simple rudiments and dynamic rhythmic accentuations.

Brian Blade, as stylish and generous as ever, continues to persuade, and Body and Shadow is another great personal achievement that also serves to commemorate two decades of a tight musical bond.

Favorite Tracks:
03 - Traveling Mercies ► 07 - Duality ►09 - Broken Leg Days