Organist Jared Gold Wraps up a Diverse, Intense Album
Jared Gold’s new B3 organ jazz album All Wrapped Up may not be the last thing you would expect, but it’s different. Before we get into this, let’s establish the fact that the world would be a much less enjoyable place without the B3 grooves of Lonnie Smith, Jimmy McGriff, the late Jimmy Smith and of course James Brown, who in case you didn’t know, first got an appetite for funk when playing this kind of stuff. Gold’s previous album Out of Line continued that great tradition: this is a lot more stylistically diverse. Once in awhile Gold will slip in a piano voicing; he’s also the bad cop here, bringing on the night when there’s too much sunshine. In addition to a couple of the usual grooves, the band also does a couple of swing tunes, slinks into noir mode and explores the fringes of Sao Paolo and New Orleans. Gold has a great cast behind him: Ralph Bowen on saxes, Jim Rotondi on trumpet and Quincy Davis on drums. The compositions are all originals: everyone in the band contributes.
The first cut, My Sentiments exactly works a pretty traditional shuffle groove and a triumphant horn hook, Bowen and Rotondi spinning off bright, bluesy eighth-note runs. A vivid swing tune, Get Out of My Sandbox has Bowen artfully playing off a descending progression as Davis adds rumble and crash, Rotondi getting to the point much more quickly with some scurrying downward chromatics. Gold messes with the tempo: if Keith Emerson wasn’t so hell-bent on showing off, he might have sounded something like this. Piece of Mind, by Davis, introduces a casually catchy, upbeat swing tune afloat on Bowen’s melismas, Davis varying his tread from nimble to stomping, with an intense, animated group conversation out of a pianistic Gold solo.
Midnight Snack, by Bowen shoots for nocturnal and noirish quickly – a nonchalantly crescendoing sax solo goes gritty, Rotondi’s insistent glissandos heighten the tension and Gold pushes him as he takes it up. And then the organ morphs it into a moody jazz waltz. Dark Blue, by Rotondi, brings it further down into the underworld, a slow slinky blues ballad with Taxi Driver ambience. Gold’s biting staccato righthand adds neon glimmer in the shadows; the whole band takes it up to a wailing, somewhat tongue-in-cheek crescendo.
Mama Said starts out as a jaunty New Orleans strut and ends up as a crime movie theme, Davis and Gold again working in tandem to boost the suspense, the organ eventually taking it down and then matter-of-factly back up in a vintage Quincy Jones vein. They follow with Suadades, a deceptively creepy, languid number, again with matter-of-factly impactful, ambling mysterioso ambience from the organ and drums, Bowen bringing a rare gentle balminess. They close the album going back to the funk, if not completely all the way, with Just a Suggestion, a lauching pad for Bowen’s on-and-off-kilter, weaving lines and Gold’s Memphis allusions. There’s an awful lot going on here: while it takes a lot of time to get to know this, stick with it, it’s all good. It’s out now on Posi-Tone; Gold is at the Fat Cat on May 20 at 10:30 with a quintet.