Guitarist and composer
Jeff Parker made a name for himself first with
Tortoise during the '90s, and then as an integral member of the experimental music scene in Chicago. He's made a career of jumping the dimensions between rock, soul, funk, and jazz. Unknown to all but his contemporaries and musician friends, he also pursued his intense love of hip-hop without recording any of it; that is, until he released 2016's
The New Breed from his adopted home studio in Los Angeles. He became a mad beats pilgrim, melding bass-throbbing, spine-quaking, bass-centric, hip-hop production inside improvised music, threaded through with R&B, dirty funk, and his own vision of glitched-up future jazz.
While that recording revealed his respect and gratitude for his departed father,
Suite for Max Brown is titled for and dedicated to his very-much-alive mother. Produced by the artist and engineered by
Paul Bryan, it is a continuation of the sounds explored on
New Breed. It includes most of the same sidemen, though it's more a solo date than a band date, and its tunes meander and stroll through thoughtful, creative, loose-sounding compositions. Daughter
Ruby Parker reprises her role from
New Breed with a slippery, souled-out vocal on opener "Build a Nest" atop a hip-hop shuffle, piano breaks, and fiery guitar solos. "C'mon Now" samples
Otis Redding's "The Happy Song (Dum Dum)" for 26 seconds before "Fusion Swirl" claims the fore, turning on a collision of clattering breaks, droning synths, and popping, propulsive bass. The cover of
John Coltrane's "After the Rain" is drenched in impressionistic yet opulent lyricism as
Josh Johnson's electric piano floats above
Jamire Williams' rolling drum kit and
Bryan's intuitive bassline. The funky, beat-centric jazz on "Gnarciss" contains foundational elements from
Joe Henderson's classic composition "Black Narcissus," as sampled vibes,
Rob Mazurek's piccolo trumpet, and
Makaya McCraven's sampler and drums emphasize the new melody issued by
Parker's single-string playing and chord voicings alongside
Johnson's spare saxophone lines. "Three for L" is a lovely ballad played by
Parker and ace drummer
Jay Bellerose. In ¾ time, it references the guitarist's heroes from
Grant Green and
Tal Farlow to
Jim Hall and
David T. Walker. The title-track closer is a ten-minute suite played by a quintet including trumpeter
Nate Wolcott. While firmly rooted in soulful post-bop, its organic rhythms are adorned by shimmering ride cymbal work from
Williams. The interplay between
Nate Wolcott and
Johnson's alto saxophone is canny; its first half is songlike in its melodic expression as
Bryan asserts a third harmonic line with his bass.
Parker's analog synth adds pillowy textures, as he comps, fills, and slides on guitar.
Johnson's horn eventually moves afield before the entire tune turns inward as synth and guitar create a mantra-like vamp.
Suite for Max Brown may be a direct sequel to its predecessor, but it's nonetheless creative and thoughtful. It's also very accessible. Experimental music never sounded this welcoming. ~ Thom Jurek
![Midnights [Jade Green Edition] [Edited]](http://prodimage.images-bn.com/pimages/0602448247032_p0_v3_s90x140.jpg "Midnights [Jade Green Edition] [Edited]")
