Label: Dreck to Disk Records, 2022

Personnel - Will Bernard: guitar; Tim Berne: alto saxophone; John Medeski: keys; Chris Lightcap: bass; Ches Smith: drums.

Despite some great releases, guitarist/composer Will Bernard remains largely overlooked outside the New York scene. This new record, in particular, shows his varied but consistent modernistic creations, and features the best lineup so far - drummer Ches Smith and keyboardist John Medeski have been regular collaborators, while bassist Chris Lightcap and saxophonist Tim Berne team up with the guitarist for the first time on record, fully supporting his inspired ideas and glorious skronky tone.

“Poor Man’s Speedball” is an odd-metered, fusion-oriented number whose avant-garde jazz and indie rock-styled demeanors conflate in a stratospheric texture paved with keyboard cushions. The rock influence is constantly present, being particularly noticeable on “Still Drinkin’?”, a progressive effort in which powered chords whip up Berne for an invigorating solo; and “That Day”, a full-tilt anthem turned polyrhythmic symphony thanks to Lightcap’s propulsive thrust and Smith's unpredictable drive.

“Type A” takes a path of ambiguity, hopping with lightness during the flawless chorus demarcated by hi-hat and opportune cymbal placement. A middle passage undergoes a change of air; a quietly breathing ambience with piano in the background and bass at the fore. In turn, “Four is More” is made of lovely riffing, triggering an ingenious hall of metric mirrors supported by an inventive harmonic work with alluring electronics. Bernard and Medeski are on the same mindset here.

“Pond Life” embraces relaxation before a bass figure imposes its mighty presence with a six-beat duration. On the other hand, “Surds” brings a strong Americana flavor to the table with odd meter, rhythmic accents, and bluesy tones contributing to pump the energy. In the same vein, but featuring Bernard on the acoustic guitar, “Lake of Greater Remnants” has playful blues-inflected lines blending right into the affectionately brushed yet lilting asymmetric tapestry.

The stellar quintet covers a lot of ground stylistically. Their languages brimming with rare facility and abandon. I was taken by the quality of the sound, the progressive tendencies, and the acuteness of the arrangements.

Favorite Tracks:
04 - Still Drinkin’? ► 06 - Four is More ► 10 - Lake of Greater Remnants

Will Bernard: guitar; John Ellis: saxophone; Brian Charette: organ; Ben Allison: bass; Allison Miller: drums.

The new material designed by the Brooklyn-based jazz guitarist Will Bernard, a Grammy-award nominated (with Party Hats in 2007), was built up with the esteemed contribution of reliable musicians.
The stylistic openness evinced by Bernard along his career allowed him to work in such a different projects with names like Tom Waits, Jai Uttal, Dr. Lonnie Smith, Charlie Hunter, and Peter Apfelbaum.
Both these experiences, together with his very own personal touch and vision, brought positive effects to his ninth album, Out & About, a solid effort that precisely reveals his broad range of expression.

Nothing better to start than a wha-wha guitar, saturated with soul and funk elements, laid out on a cheerful bass-drums groove. This is what happens in “Happy Belated”, the first track of the album that features fulgurant improvisations by Bernard and Ellis. This pair of ramblers is in evidence again in “Next Guest”, an avant-garde settlement whose head relies on a strong motivic figure.
Rich in tempo variations, “Habenera” changes the mood completely, becoming harmonically oriented by Charette’s organ and perceptively accentuated by the adroit rhythm section.

Typical jazz idioms return in “Redwoods”, an up-tempo, elated tune where all the performers have the opportunity to expand their personal creativity, as well as in “Homeward Bound”, a tune infused with a cool rock atmosphere, and “Homebody”, a sneaky creation of pacific contours.
“Suggested Reading”, a volatile and vagrant ramble ideally conceived for Bernard’s uncompromising explorations, also showcases Ben Allison’s soloing expertise, while “Full Sweep” suggests a Latin feel swept by Ellis’ spontaneity. The album finishes with the elegant title track, holder of a tango-ish sparkle and beautiful melody, but only after “Pan Seared”, a sensitive ballad adorned with Miller’s concise brushwork.

Uncomplicated, agreeable, and passionate, are three adjectives that, applied simultaneously, better define Out & About.