Russell Malone
Released February 17, 2015
Jazzweek No1 Year End Jazz Chart 2015
YouTube: https://music.youtube.com/watch?v=uM7DVfLJ944&list=OLAK5uy_nm1w8efE1fiNJeFGFo8ON4eWyeafg4MMA
Spotify: https://open.spotify.com/album/2kPTmAGkqbTkLXzY3TFKyW?si=iNxuOSIDS9GVaw5AIQ1h3Q
About:
HighNote is happy to welcome Russell Malone, one of the most gifted guitar players to emerge in recent years, to its roster. Russell first worked with master Jazz organist Jimmy Smith in 1988, and between 1990 and 1994 toured with Harry Connick, Jr. During the late nineties Malone toured internationally with Diana Krall, receiving critical acclaim in his role as Diana’s right hand both in concert and on her recordings. Malone seems comfortable in a variety of settings, performing with such diverse artists as Branford Marsalis, Bucky Pizzarelli, Jack McDuff, John Hicks, Freddie Cole, Mulgrew Miller, Kenny Barron, Roy Hargrove, Cyrus Chestnut and Patti Austin. Malone was also a featured performer in Robert Altman’s 1996 film “Kansas City.” From his first recordings as a leader on Columbia in 1992 to his HighNote debut, Russell Malone has proven himself to be the consummate musician capable of both swinging hard and caressing a ballad like few guitarists today can.
Track Listing:
1. Soul Leo 7:38
2. Love Looks Good On You 6:57
3. The Elder 5:51
4. Ellie’s Love Theme 4:53
5. Your Zowie Face 5:57
6. Mirrors 4:06
7. Amsterdam After Dark 7:24
8. Life Ev’ry Voice and Sing (J.R. Johnson / J.W. Johnson) 3:09
9. Suite Sioux 5:37
Personnel:
Russell Malone: guitar
Rick Germanson: piano
Gerald Cannon: bass
Willie Jones III: drums
Recorded October 9, 2014, at Systems Two Recording Studios, Brooklyn, NY
Produced by Russell Malone
Executive Producer: Joe Fields
Engineer: Katsuhiko Naito
Photography and Graphic Design by Cristopher Drukker
Review:
In his 11th album as a leader and his first for HighNote, Russell Malone demonstrates the clear, thoughtful tone, tasty phrase-making and rhythmic mastery that have made him one of today’s finest exponents of the mainstream jazz guitar tradition of Wes Montgomery, Grant Green and George Benson, his early idol.
Malone’s years as a sideman-supporting Jimmy Smith, Harry Connick Jr., Ray Brown, Diana Krall, Sonny Rollins and Dianne Reeves, among others-helped him to become a sensitive leader, a lyrical, sometimes dazzling soloist and, not incidentally, one of the most effective rhythm guitarists since Freddie Green. He puts all that experience to good use here in a forward-looking take on a backward-looking repertoire. His playing is sometimes bluesy, sometimes modern and athletic, but always anchored in good taste and a sense of decorum. An adroit quartet of pianist Rick Germanson, bassist Gerald Cannon and drummer Willie Jones III provides pitch-perfect support.
Malone loves a good melody, saying, in the liner notes, “I prefer to play songs that stick in my head and in the listener’s head.” The album is like a curated collection of overlooked tunes, all of which have special meaning to Malone, starting with “Soul Leo,” a hard-boppish number by his late friend and bandmate (with Ron Carter’s Golden Striker Trio) Mulgrew Miller. Later he resurrects rarities like “Ellie’s Love Theme” from Isaac Hayes’ score for Shaft; a terrific bit of Basie-ana called “The Elder,” written by Thad Jones; and, most strikingly, a catchy piece of ’60s nostalgia called, improbably, “Your Zowie Face,” from the score of the spy spoof In Like Flint (music by Hollywood veteran Jerry Goldsmith).
The title ballad (the sole Malone original here) and, later, a solo version of “Lift Every Voice and Sing” are tender and poignant. “Suite Sioux,” a driving, urgent Freddie Hubbard tune, is a fitting closer that gives the band ample opportunities to flex its muscles, including outstanding solos by Malone, a fiery Germanson and an explosive Jones.
Allen Morrison(JazzTimes)
