Label: Changu Records, 2025
Personnel - Jaleel Shaw: alto saxophone; Lawrence Fields: piano; Ben Street : bass; Joe Dyson: drums + Lage Lund: guitar (#4,10); Sasha Berliner: vibraphone (#6,11).
American altoist Jaleel Shaw releases his first album in 13 years. Throughout the 11 original tracks of Painter of the Invisible, he showcases not only powerful soloing instincts but also a gift for modern jazz composition that carries the rich aroma of tradition. Shaw, who rose to prominence as a bandleader while working with the late drummer Roy Haynes in his Fountain of Youth Band, reunites with pianist Lawrence Fields—featured on Soundtrack of Things to Come (2013)—and Norwegian guitarist Lage Lund, a strong presence on his first two albums, Perspective (2005) and Optimism (2008). Lund was a last-minute addition, as was vibraphonist Sasha Berliner. The core rhythm section features the seasoned bassist Ben Street and rising-star drummer Joe Dyson.
“Contemplation” is a high-energy, modal post-bop piece infused with Coltrane-inspired flavors, while “Beantown” blends elements of funk and R&B within a modern jazz framework—joy and positive energy radiate from its melodic statement, firmly anchored by Street’s gripping 14-beat cycle bass groove and Dyson’s incompressible snare/hi-hat-driven flow. The group jumps off from there.
Both “Distant Images” and “Gina’s Ascent” were written for Shaw’s late family members. The former, dedicated to his grandmother, is a rhythmically challenging piece whose rubato intro features Lund’s effulgent guitar playing and clear tone, while the latter, penned for his cousin, features Berliner’s dreamy vibes, whose figure in seven is mirrored by the bass.
Every piece has the post-bop thread running through it, yet “Tamir”, dedicated to murdered 12-year-old boy Tamir Rice, introduces Middle Eastern and African inflections in a 6/4 modal journey. Shaw’s eloquent, burnished saxophone channels spiritual consciousness, soaring again on “Invisible Man”, a tour-de-force in seven that reflects his experience as a Black man. Lund’s solo here is a marvel, enhancing a piece inspired by Ralph Ellison’s novel. The album concludes with the awe-inspiring melody of “Until We Meet Again”, a tribute to the late saxophonist, keyboardist, and vocoderist Casey Benjamin—co-founder of the Robert Glasper Experiment—where Berliner’s vibraphone brings warmth and tenderness.
Shaw retains his much-appreciated musical identity while exploring new directions. Painter of the Invisible is where melody, harmony, and rhythm come alive with pure intention. A great album to enjoy without reservations.
Favorite Tracks:
03 - Beantown ► 04 - Distant Images ► 07 - Tamir ► 10 - Invisible Man