DAVE STRYKER - Eight Track III
Strikezone
Dave Stryker: guitar; Stefon Harris: vibraphone; Jared Gold: organ; McClenty Hunter: drums; Mayra Casales: congas & percussion (#2-3, 6-9)
Guitarist Dave Stryker’s Eight Track series of albums have been a huge hit with audiences since the original recording in 2014. The premise is simple– Stryker and his well oiled quartet with organist Jared Gold, drummer McClenty Hunter and vibraphonist Stefon Harris look at classic 70’s soul and pop pieces that are well known to the general public, in addition pieces the guitarist grew up with. The music of that 70’s era in particular, when looking at the work of Curtis Mayfield, Stevie Wonder, The Temptations, and Steely Dan (all represented in this collection) share a very specific attention to detailed harmonies that allow jazz musicians to really let go when gleaning the improvisational details. The desire to complete the triage of albums was suggested by Stefon Harris in the summer of 2018, and the quartet aided by percussionist Myra Casales on several numbers(last appearing on Messin With Mr. T) delivers on all fronts. Harris reprises his role for the third go round, where he was replaced by Steve Nelson on the second album.
Stryker has always been able to excel at great melody, and they flow thick on the present collection. The take on “Papa Was a Rolling Stone” from The Temptations classic All Directions (Gordy, 1972) is remarkable for it’s ability to hint and imply the entire complex orchestration with just the quintet over the course of seven and a half minutes. Gold and Hunter keep the groove steady as Casales’ atmospheric shakers, heavily reverbed woodblocks lay another textural layer while the guitarist and vibraphone play the famous melody. Stryker spins a solo of deep conviction carefully crafted for tension and release, Gold’s tremolo’d B-3 wafts psychedelic textures underneath, Harris quietly simmers, and Gold explodes with chunky organ when it’s his turn to shine. On Roy Ayers “Everyone Loves The Sunshine”, the vibraphonist’s liquidity roars to heated testimony on one of the album’s most memorable cuts. Stevie Wonder’s “Too High” is given a unique makeover in hard swing, and the legendary vocalist/singer/multi instrumentalist has the last word with “Joy In My Own Tears”. Hunter provides authentic 70’s flavor with dead snare drum, and the guitarist rings twangy deep blue hues and agile octaves over the closing motivic development section as he and Harris soar to an emotional climax.
Dave Stryker takes the listener on another enjoyable, swinging, grooving journey through classics of the 70’s that make Eight Track III a fitting finale to the trilogy. Indeed, Stryker is no stranger to the vibes-organ combo, having previously explored it on Strykin’ Ahead. The stalwart guitarist proves the combination has a lot of mileage, having been investigated in the past by John Patton, Bobby Hutcherson and Larry Young. Also the album has been a killer on jazz radio, having the #1 spot for six weeks on the Jazzweek chart. The excellent playing makes this one to enjoy many times over. For those who like swinging, funky, groovy jazz guitar, this will fit the bill.
Reviewed by CJ Shearn
Strikezone
Dave Stryker: guitar; Stefon Harris: vibraphone; Jared Gold: organ; McClenty Hunter: drums; Mayra Casales: congas & percussion (#2-3, 6-9)
Guitarist Dave Stryker’s Eight Track series of albums have been a huge hit with audiences since the original recording in 2014. The premise is simple– Stryker and his well oiled quartet with organist Jared Gold, drummer McClenty Hunter and vibraphonist Stefon Harris look at classic 70’s soul and pop pieces that are well known to the general public, in addition pieces the guitarist grew up with. The music of that 70’s era in particular, when looking at the work of Curtis Mayfield, Stevie Wonder, The Temptations, and Steely Dan (all represented in this collection) share a very specific attention to detailed harmonies that allow jazz musicians to really let go when gleaning the improvisational details. The desire to complete the triage of albums was suggested by Stefon Harris in the summer of 2018, and the quartet aided by percussionist Myra Casales on several numbers(last appearing on Messin With Mr. T) delivers on all fronts. Harris reprises his role for the third go round, where he was replaced by Steve Nelson on the second album.
Stryker has always been able to excel at great melody, and they flow thick on the present collection. The take on “Papa Was a Rolling Stone” from The Temptations classic All Directions (Gordy, 1972) is remarkable for it’s ability to hint and imply the entire complex orchestration with just the quintet over the course of seven and a half minutes. Gold and Hunter keep the groove steady as Casales’ atmospheric shakers, heavily reverbed woodblocks lay another textural layer while the guitarist and vibraphone play the famous melody. Stryker spins a solo of deep conviction carefully crafted for tension and release, Gold’s tremolo’d B-3 wafts psychedelic textures underneath, Harris quietly simmers, and Gold explodes with chunky organ when it’s his turn to shine. On Roy Ayers “Everyone Loves The Sunshine”, the vibraphonist’s liquidity roars to heated testimony on one of the album’s most memorable cuts. Stevie Wonder’s “Too High” is given a unique makeover in hard swing, and the legendary vocalist/singer/multi instrumentalist has the last word with “Joy In My Own Tears”. Hunter provides authentic 70’s flavor with dead snare drum, and the guitarist rings twangy deep blue hues and agile octaves over the closing motivic development section as he and Harris soar to an emotional climax.
Dave Stryker takes the listener on another enjoyable, swinging, grooving journey through classics of the 70’s that make Eight Track III a fitting finale to the trilogy. Indeed, Stryker is no stranger to the vibes-organ combo, having previously explored it on Strykin’ Ahead. The stalwart guitarist proves the combination has a lot of mileage, having been investigated in the past by John Patton, Bobby Hutcherson and Larry Young. Also the album has been a killer on jazz radio, having the #1 spot for six weeks on the Jazzweek chart. The excellent playing makes this one to enjoy many times over. For those who like swinging, funky, groovy jazz guitar, this will fit the bill.
Reviewed by CJ Shearn
