SIMON OSLENDER - Peace of Mind
Leopard D 77110
Simon Oslender (piano, Rhodes piano, Wurlitzer piano, organ, synthesiser, vocals, programming); Will Lee (electric bass, fretless bass), Wolfgang Haffner (drums).
Additional musicians: Roland Pell (percussion); Oliver Leicht (flutes, clarinets); Ruud Breuls (flugelhorn); Günter Bollmann (trombone).
Recorded Hansahaus Studios, Bonn, Germany August 2021-January 2022, plus the home studios of Will Lee and Simon Oslender (no recording dates)
Simon Oslender is both a young (he’s 24) and prodigiously talented keyboard player. His debut album, About Time, was released in 2019 and the guest musicians included saxophonist Bill Evans and trumpeter Randy Brecker. Oslender has also played with drummer Steve Gadd, and the late organist Dr Lonnie Smith. I enjoyed Oslender’s first album, but felt that it was a little too diverse in terms of musical genres. I’m happy to say that this album is more focused.
Oslender has opted for what could be called a ‘Trio Plus’ line-up, that is a core trio of players, supported by a small band of additional musicians, who play various wind instruments and percussion – only two of the twelve tracks is a pure trio line-up. The other trio members are exceptional and experienced players. Bassist Will Lee (69) has played on thousands of sessions with artists such as Joe Beck, George Benson, Hiram Bullock, Mike Stern and The Brecker Brothers. Drummer Wolfang Haffner (56) has a cv that includes Al Jarreau, Pat Metheny, Larry Carlton, Joe Sample and Lee Ritenour. He also co-produced the album with Oslender and co-arranged most of the tunes with him too. Needless to say, the musicianship on this album is second-to-none. From the various session photographs in the middle of the CD booklet, the trio clearly enjoyed worked together in the studio.
Oslender’s music is very accessible, and that is meant as a compliment and not a criticism. His musical influences include George Duke, Herbie Hancock and Lyle Mays, and like them, Oslender embraces both acoustic and electronic keyboards. On most tunes, he plays two or three keyboards (such as organ, synthesiser and electric piano), often playing two or three solo sections, and using a different keyboard for each one.
‘Healing’ starts off as a solo piano piece, with Oslender tenderly playing the theme, before being joined by drum and bass. Around a minute and half in, the music moves up a notch, as Haffner plays a heavy backbeat and Oslender adds synthesiser lines to mix. A long synth solo is followed by what sounds like pounding sounds from beat box, before the wind instruments joins in, like the sun breaking though a cloud – it’s an uplifting moment that carries the song to its conclusion.
Oslender’s first album included ‘Warehouse’, a tune dedicated to the late jazz guitarist Chuck Loeb, and on this record, ‘When She Speaks’ is also dedicated to him. The track is like a hybrid George Duke/Pat Metheny tune: bright, breezy and uptempo, with a hint of Latin. It’s also accompanied by wordless vocals, sung by Oslender and includes long solo on Wurlitzer piano and a snaking synthesiser solo. He also uses subtle organ lines to support the vocals – this man knows how to use add tones and textures to the music without overwhelming it.
‘First Dance’ is a dreamy, mid-tempo number that starts with Haffner playing a slow, hypnotic drum pattern. Oslender’s main instrument is the piano, and his playing is graceful, with cascading riffs and flowing lines. ‘Keep It’ has a neat shuffle groove, with Lee’s walking bass line, Haffner’s pounding beat and Oslender letting loose on electric piano (with added organ flourishes). Lee also comes out of the shadows and plays an accomplished solo. In the second half of the tune, Oslender plays a short piano solo and sings ghost-like, wordless vocals. The music really swings and you can feel the enjoyment the band got from playing it.
‘I Will Be There’ is a sweet ballad, played by just the trio. Oslender’s opening piano riff reminds me of the song, ‘The Greatest Love Of All.’ Everyone plays tenderly and delicately, as if tip-toeing across a thin sheet of ice. Haffner uses brushes to create soft, swelling, cymbal sounds, and Lee leaves plenty of space between notes. It’s a lovely band performance, topped by a melodic solo by Lee. ‘Hymn’ is a Pat Metheny-esque mid-tempo piece beginning with Lee playing the melody on bass. The song builds up in intensity, with Oslender breaking out into, wordless vocals and creating an anthemic feel to the sound. It’s a joyous piece.
‘Fall Of Hope’ is an atmospheric song, with swirling synthesisers, a slow, steady rhythm-box beat and Lee’s singing fretless bass. Oslender’s tinkling electric piano chords are as light and delicate as a morning mist. The horn section joins in at various points, but then always quickly retreats. Lee plays a splendid solo that is lyrical, rich in harmonics and treated with echo and reverb.
If you had asked me to do a blindfold test on the jauntily-themed ‘Shining Bright,’ I would have guessed that the artist was Dave Grusin. It’s a pleasant smooth-jazz number on which Oslender mainly plays piano, although he includes a short synthesiser solo and supporting organ lines. The aptly-titled ‘Sleep In Peace’ seems to have been written for a funeral service. The rhythm section moves at the same pace as a pallbearer, Oslender seems to barely touch the keys on his electric piano, as he plays the mournful theme, and the horn section rises up like someone crying in the congregation.
‘Walk In The Wind’ is a tranquil piece, dominated by the sweet, melodic tones of Lee’s fretless bass, while ‘Better Times’ (the second tune with a pure trio line-up) lives up its name. It has a bright, optimistic theme, played on piano, with the bass harmonizing. Around two thirds in, the music breaks out, like sunshine bursting open a dark cloud, and it ends with Oslender playing the theme on solo piano.
This year marks the 15th anniversary of the death of master saxophonist Michael Brecker, and the album’s final song, ‘Blue Mike,’ is dedicated to him. The elegiac ballad has two parts. The first starts with Haffner tapping out a slow beat on a cymbal, as if setting the pace for a funeral procession. Oslender plays the sorrowful theme on synthesiser, and Lee joins in with a short solo on fretless bass – his instrument sounds as if it’s weeping - before the synthesiser returns with the theme. The piece continues in this vein of interchanging synthesiser/bass sections (with the horn section added to the mix), until the last third of the song, when Haffner switches to playing the beat on a snare, Lee plays fretted bass and Oslender unleashes soulful lines on organ, supported by horns and percussion (Lee also adds some lines of fretless bass). It’s a deeply moving piece.
This album shows how much Oslender has matured as a performer, composer, producer and arranger in just the past couple of years. You can almost feel his growing confidence as an artist and producer. On the evidence of his first two albums, it’s clear that Simon Oslender is one of the brightest new talents to appear on the jazz scene in the recent times.
Reviewed by George Cole
Leopard D 77110
Simon Oslender (piano, Rhodes piano, Wurlitzer piano, organ, synthesiser, vocals, programming); Will Lee (electric bass, fretless bass), Wolfgang Haffner (drums).
Additional musicians: Roland Pell (percussion); Oliver Leicht (flutes, clarinets); Ruud Breuls (flugelhorn); Günter Bollmann (trombone).
Recorded Hansahaus Studios, Bonn, Germany August 2021-January 2022, plus the home studios of Will Lee and Simon Oslender (no recording dates)
Simon Oslender is both a young (he’s 24) and prodigiously talented keyboard player. His debut album, About Time, was released in 2019 and the guest musicians included saxophonist Bill Evans and trumpeter Randy Brecker. Oslender has also played with drummer Steve Gadd, and the late organist Dr Lonnie Smith. I enjoyed Oslender’s first album, but felt that it was a little too diverse in terms of musical genres. I’m happy to say that this album is more focused.
Oslender has opted for what could be called a ‘Trio Plus’ line-up, that is a core trio of players, supported by a small band of additional musicians, who play various wind instruments and percussion – only two of the twelve tracks is a pure trio line-up. The other trio members are exceptional and experienced players. Bassist Will Lee (69) has played on thousands of sessions with artists such as Joe Beck, George Benson, Hiram Bullock, Mike Stern and The Brecker Brothers. Drummer Wolfang Haffner (56) has a cv that includes Al Jarreau, Pat Metheny, Larry Carlton, Joe Sample and Lee Ritenour. He also co-produced the album with Oslender and co-arranged most of the tunes with him too. Needless to say, the musicianship on this album is second-to-none. From the various session photographs in the middle of the CD booklet, the trio clearly enjoyed worked together in the studio.
Oslender’s music is very accessible, and that is meant as a compliment and not a criticism. His musical influences include George Duke, Herbie Hancock and Lyle Mays, and like them, Oslender embraces both acoustic and electronic keyboards. On most tunes, he plays two or three keyboards (such as organ, synthesiser and electric piano), often playing two or three solo sections, and using a different keyboard for each one.
‘Healing’ starts off as a solo piano piece, with Oslender tenderly playing the theme, before being joined by drum and bass. Around a minute and half in, the music moves up a notch, as Haffner plays a heavy backbeat and Oslender adds synthesiser lines to mix. A long synth solo is followed by what sounds like pounding sounds from beat box, before the wind instruments joins in, like the sun breaking though a cloud – it’s an uplifting moment that carries the song to its conclusion.
Oslender’s first album included ‘Warehouse’, a tune dedicated to the late jazz guitarist Chuck Loeb, and on this record, ‘When She Speaks’ is also dedicated to him. The track is like a hybrid George Duke/Pat Metheny tune: bright, breezy and uptempo, with a hint of Latin. It’s also accompanied by wordless vocals, sung by Oslender and includes long solo on Wurlitzer piano and a snaking synthesiser solo. He also uses subtle organ lines to support the vocals – this man knows how to use add tones and textures to the music without overwhelming it.
‘First Dance’ is a dreamy, mid-tempo number that starts with Haffner playing a slow, hypnotic drum pattern. Oslender’s main instrument is the piano, and his playing is graceful, with cascading riffs and flowing lines. ‘Keep It’ has a neat shuffle groove, with Lee’s walking bass line, Haffner’s pounding beat and Oslender letting loose on electric piano (with added organ flourishes). Lee also comes out of the shadows and plays an accomplished solo. In the second half of the tune, Oslender plays a short piano solo and sings ghost-like, wordless vocals. The music really swings and you can feel the enjoyment the band got from playing it.
‘I Will Be There’ is a sweet ballad, played by just the trio. Oslender’s opening piano riff reminds me of the song, ‘The Greatest Love Of All.’ Everyone plays tenderly and delicately, as if tip-toeing across a thin sheet of ice. Haffner uses brushes to create soft, swelling, cymbal sounds, and Lee leaves plenty of space between notes. It’s a lovely band performance, topped by a melodic solo by Lee. ‘Hymn’ is a Pat Metheny-esque mid-tempo piece beginning with Lee playing the melody on bass. The song builds up in intensity, with Oslender breaking out into, wordless vocals and creating an anthemic feel to the sound. It’s a joyous piece.
‘Fall Of Hope’ is an atmospheric song, with swirling synthesisers, a slow, steady rhythm-box beat and Lee’s singing fretless bass. Oslender’s tinkling electric piano chords are as light and delicate as a morning mist. The horn section joins in at various points, but then always quickly retreats. Lee plays a splendid solo that is lyrical, rich in harmonics and treated with echo and reverb.
If you had asked me to do a blindfold test on the jauntily-themed ‘Shining Bright,’ I would have guessed that the artist was Dave Grusin. It’s a pleasant smooth-jazz number on which Oslender mainly plays piano, although he includes a short synthesiser solo and supporting organ lines. The aptly-titled ‘Sleep In Peace’ seems to have been written for a funeral service. The rhythm section moves at the same pace as a pallbearer, Oslender seems to barely touch the keys on his electric piano, as he plays the mournful theme, and the horn section rises up like someone crying in the congregation.
‘Walk In The Wind’ is a tranquil piece, dominated by the sweet, melodic tones of Lee’s fretless bass, while ‘Better Times’ (the second tune with a pure trio line-up) lives up its name. It has a bright, optimistic theme, played on piano, with the bass harmonizing. Around two thirds in, the music breaks out, like sunshine bursting open a dark cloud, and it ends with Oslender playing the theme on solo piano.
This year marks the 15th anniversary of the death of master saxophonist Michael Brecker, and the album’s final song, ‘Blue Mike,’ is dedicated to him. The elegiac ballad has two parts. The first starts with Haffner tapping out a slow beat on a cymbal, as if setting the pace for a funeral procession. Oslender plays the sorrowful theme on synthesiser, and Lee joins in with a short solo on fretless bass – his instrument sounds as if it’s weeping - before the synthesiser returns with the theme. The piece continues in this vein of interchanging synthesiser/bass sections (with the horn section added to the mix), until the last third of the song, when Haffner switches to playing the beat on a snare, Lee plays fretted bass and Oslender unleashes soulful lines on organ, supported by horns and percussion (Lee also adds some lines of fretless bass). It’s a deeply moving piece.
This album shows how much Oslender has matured as a performer, composer, producer and arranger in just the past couple of years. You can almost feel his growing confidence as an artist and producer. On the evidence of his first two albums, it’s clear that Simon Oslender is one of the brightest new talents to appear on the jazz scene in the recent times.
Reviewed by George Cole
