Jared Gold • Supersonic

 

Editorial Review
Fasten your seat belts as organist Jared Gold takes off and goes "Supersonic" with his second album for Posi-Tone. Also onboard are guitarist Ed Cherry and drummer McClenty Hunter, who bring all the right stuff to this groovy and hard hitting date. The in-flight musical meal features a wide ranging selection of tunes from the funky and familiar to the soulful and original. Hold on to your hat, sit back and enjoy the ride with Jared Gold's new CD "Supersonic" available now from Posi-Tone.
https://www.posi-tone.com/supersonic/supersonic.html

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Reseña editorial
Abróchense los cinturones porque el organista Jared Gold despega y se vuelve "supersónico" con su segundo álbum para Posi-Tone. También están a bordo el guitarrista Ed Cherry y el baterista McClenty Hunter, que aportan todo lo necesario a esta cita tan groovy y dura. El menú musical a bordo presenta una amplia selección de temas, desde los más funky y familiares hasta los más originales y conmovedores. Agárrate el sombrero, siéntate y disfruta del viaje con el nuevo CD de Jared Gold, "Supersonic", disponible ya en Posi-Tone.
https://www.posi-tone.com/supersonic/supersonic.html

www.jaredgoldb3.com ...

 

Jared Gold • Intuition

 

Jared Gold's recent emergence as one of New York's most in demand organists comes from years of dedication and respect to the Hammond B-3. With such influences as Larry Young, Jack McDuff, and Don Patterson, a unique philosophy based on extending harmony and solidifying groove has taken precedence. Versatility has provided Jared the opportunity to work with such established veterans as Dave Stryker, John Abercrombie, Ed Cherry, Jon Gordon, Oliver Lake, Bill Goodwin, Adam Nussbaum, Jimmy Ponder, Ralph Bowen, Bruce Williams, Cecil Brooks III, Don Braden, Ralph Peterson, William Ash, John Swana, and Tony Reedus. In 2004 Dave Stryker included Jared in his newly formed organ trio with drummer Tony Reedus. With a mixture of adventurous original music and new takes on some old standards this group has been performing often, including a live WBGO broadcast from J and R music in NYC. Jared's writing and arranging skills are featured in his collaboration with guitarist Randy Napoleon and drummer Quincy Davis. They have produced two CD's of which “Enjoy the Moment” (pko records) has received high acclaim and radio play throughout the country. Jared's discography also includes “The Chaser” with the Dave Stryker Trio, “Going Somewhere” with the Avi Rothbard Trio, “Broadway Alley” with the William Ash Trio, and “Springloaded” with the Dan Pratt Organ Quartet.
https://musicians.allaboutjazz.com/jaredgold

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La reciente aparición de Jared Gold como uno de los organistas más solicitados de Nueva York es fruto de años de dedicación y respeto al Hammond B-3. Con influencias como Larry Young, Jack McDuff y Don Patterson, ha primado una filosofía única basada en extender la armonía y solidificar el groove. La versatilidad ha proporcionado a Jared la oportunidad de trabajar con veteranos establecidos como Dave Stryker, John Abercrombie, Ed Cherry, Jon Gordon, Oliver Lake, Bill Goodwin, Adam Nussbaum, Jimmy Ponder, Ralph Bowen, Bruce Williams, Cecil Brooks III, Don Braden, Ralph Peterson, William Ash, John Swana y Tony Reedus. En 2004 Dave Stryker incluyó a Jared en su recién formado trío de órgano con el baterista Tony Reedus. Con una mezcla de música original aventurera y nuevas tomas en algunos viejos estándares este grupo ha estado actuando a menudo, incluyendo una transmisión en vivo de WBGO desde J y R music en NYC. Las habilidades de Jared para componer y arreglar son destacadas en su colaboración con el guitarrista Randy Napoleon y el baterista Quincy Davis. Han producido dos CD's de los cuales "Enjoy the Moment" (pko records) ha recibido grandes elogios y ha sido reproducido en la radio en todo el país. La discografía de Jared también incluye "The Chaser" con el Dave Stryker Trio, "Going Somewhere" con el Avi Rothbard Trio, "Broadway Alley" con el William Ash Trio, y "Springloaded" con el Dan Pratt Organ Quartet.
https://musicians.allaboutjazz.com/jaredgold

 

www.jaredgoldb3.com ...

Dave Stryker • Blue Fire The Van Gelder Session

 

Review by Skope Entertainment:
Rudy Van Gelder's Englewood Cliffs studio is known for its innumerable catalogue of iconic contemporary jazz records, and guitarist Dave Stryker adds his name to that elite lineage with his latest record, "Blue Fire: The Van Gelder session." For Stryker, this album represents the fulfillment of a long-held dream. Having come up through the ranks alongside legends like Jack McDuff and Stanley Turrentine, Blue Fire is a statement of his personal evolution. At its core, Blue Fire is modern jazz steeped in the organ trio tradition, a format that demands trust, and responsiveness. Without a bass, rhythmic momentum must be shared, and Stryker's trio thrives in that openness. The album is a masterclass in texture and conversation, seamlessly blending hard-bop agility and soul-jazz warmth. Stryker's guitar tone is warm and articulate with his solos really shining through on the title track "Blue Fire." Throughout the album, his performances unfold in long, conversational lines that feel spoken rather than announced. Gold's organ work is both foundational and exploratory, and while he stands out on "Waiting for Ruby," his real strength is to stay relevant even when he isn't in the spotlight. The bass lines, harmonic color, and expressive solos that push against the edges of the groove add a depth and character that can only be produced with experience. Hunter, meanwhile, is the trio's quiet engine: agile, alert, and constantly shaping the music's direction without ever dominating it. The trio's interplay is especially effective in Van Gelder's famously resonant room as notes hang just long enough to breathe, allowing ideas to develop naturally rather than rush forward. Blue Fire: The Van Gelder Session doesn't aim to be a flashy record. Its strength lies in clarity, connection, and craft.
https://skopemag.com/2025/12/31/dave-stryker-presents-blue-fire-the-van-gelder-session-out-january-9-2026

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Reseña de Skope Entertainment - Traducción:
El estudio de Rudy Van Gelder en Englewood Cliffs es conocido por su innumerable catálogo de discos icónicos de jazz contemporáneo, y el guitarrista Dave Stryker añade su nombre a ese linaje de élite con su último disco, "Blue Fire: The Van Gelder session." Para Stryker, este álbum representa el cumplimiento de un sueño largamente acariciado. Habiendo surgido entre las filas junto a leyendas como Jack McDuff y Stanley Turrentine, Blue Fire es una declaración de su evolución personal. En su esencia, Blue Fire es jazz moderno impregnado de la tradición del trío de órgano, un formato que exige confianza y capacidad de respuesta. Sin un bajo, el impulso rítmico debe ser compartido, y el trío de Stryker prospera en esa apertura. El álbum es una clase magistral en textura y conversación, combinando sin problemas la agilidad del hard-bop y la calidez del soul-jazz. El tono de guitarra de Stryker es cálido y articulado con sus solos brillando realmente en la pista que da título "Blue Fire." A lo largo del álbum, sus interpretaciones se despliegan en largas líneas conversacionales que se sienten habladas en lugar de anunciadas. El trabajo de órgano de Gold es tanto fundamental como exploratorio, y aunque se destaca en "Waiting for Ruby," su verdadera fortaleza es mantenerse relevante incluso cuando no está en el centro de atención. Las líneas de bajo, el color armónico y los solos expresivos que empujan contra los bordes del groove añaden una profundidad y carácter que solo pueden ser producidos con experiencia. Hunter, mientras tanto, es el motor silencioso del trío: ágil, alerta y constantemente moldeando la dirección de la música sin dominarla nunca. La interacción del trío es especialmente efectiva en la famosa sala resonante de Van Gelder, ya que las notas se sostienen justo lo suficiente para respirar, permitiendo que las ideas se desarrollen naturalmente en lugar de apresurarse hacia adelante. Blue Fire: The Van Gelder Session no pretende ser un disco llamativo. Su fortaleza radica en la claridad, la conexión y el oficio.
https://skopemag.com/2025/12/31/dave-stryker-presents-blue-fire-the-van-gelder-session-out-january-9-2026

www.davestryker.com

Jared Gold • Out Of Line

 

Fasten your seat belts and get ready to take a trip when organist Jared Gold goes "Out Of Line" on his third record for Posi-Tone. Also along for the wild ride are the capable stylings of guitarist Dave Stryker, the dulcet tones of saxophonist Chris Cheek, and the explosive metrics of drummer Mark Ferber.
https://www.posi-tone.com/jared-gold/out-of-line.html

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Abróchense los cinturones y prepárense para un viaje cuando el organista Jared Gold se ponga "fuera de línea" en su tercer disco para Posi-Tone. Además, el guitarrista Dave Stryker, el saxofonista Chris Cheek y el baterista Mark Ferber se encargan de la ejecución de los temas.
https://www.posi-tone.com/jared-gold/out-of-line.html

www.jaredgoldb3.com ...

 

Dan Pratt • Springloaded

 

DPOQ, as it's named on the cover of Springloaded, stands for the Dan Pratt Organ Quartet, a smokin' band led by tenor saxophonist Dan Pratt. DPOQ draws upon the foundations of organ jazz as set by Jimmy Smith and Larry Young, using modern compositional forms to create up-to-the-minute jazz that combines invention and swing. The members of DPOQ are young and they take no prisoners.

Pratt exemplifies the approach of DPOQ. He composed most of the tunes on Springloaded , using challenging and unorthodox formal devices. Yet the tunes are accessible and melodic, and some of them, such as the up-tempo burner "Who Knew," have the potential to become jazz standards. On tenor sax, Pratt has a huge, warm sound, and he improvises creatively and aggressively. He might play against the rhythm, and more often, he digs in and swings, as on "Blues With A Limp."

Organist Jared Gold demonstrates firm footwork, maintaining solid bass lines even as he negotiates the intricate forms of the tunes, such as the odd-meter funk that's part of "Still Steamin." He seems to be developing a personal style based in Larry Young, including Young's lighter touch, and he solos effectively throughout. Alan and Mark Ferber happen to be identical twins, and they're also excellent musicians. Alan can go outside, blare, riff, or bop like J.J. Johnson. Mark keeps swinging time even through the most complex situations.

But DPOQ's strongest asset might be its unity, its band sound. This is a working band, with deep interplay, and when Pratt and Alan Ferber improvise collectively, their lines intertwine with remarkable clarity.The result is Springloaded, a fine debut by a band to watch. 
https://www.allaboutjazz.com/springloaded-dan-pratt-sunny-sky-review-by-aaj-staffBy AAJ Staff
October 15, 2004

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DPOQ, como se llama en la portada de Springloaded, representa al Cuarteto de Órgano Dan Pratt, una banda espectacular liderada por el saxofonista tenor Dan Pratt. DPOQ se inspira en los fundamentos del jazz de órgano establecidos por Jimmy Smith y Larry Young, utilizando formas compositivas modernas para crear un jazz actual que combina invención y swing. Los miembros de DPOQ son jóvenes y no se andan con rodeos.

Pratt ejemplifica el enfoque de DPOQ. Compuso la mayoría de los temas de Springloaded, utilizando recursos formales desafiantes y poco ortodoxos. Sin embargo, los temas son accesibles y melódicos, y algunos, como el temazo "Who Knew", tienen el potencial de convertirse en clásicos del jazz. En el saxo tenor, Pratt posee un sonido potente y cálido, e improvisa de forma creativa y agresiva. Puede tocar a contracorriente, pero con más frecuencia, se aferra y se mueve con swing, como en "Blues With A Limp".

El organista Jared Gold demuestra un ritmo firme, manteniendo líneas de bajo sólidas incluso mientras se mueve por las intrincadas formas de las melodías, como el funk de métrica irregular que forma parte de "Still Steamin". Parece estar desarrollando un estilo personal inspirado en Larry Young, incluyendo el toque más ligero de Young, y solos con gran eficacia en todo momento. Alan y Mark Ferber son gemelos idénticos y también son excelentes músicos. Alan puede salirse de control, tocar a todo volumen, improvisar o bailar como J.J. Johnson. Mark mantiene el ritmo incluso en las situaciones más complejas.

Pero el punto fuerte de DPOQ podría ser su unidad, su sonido de banda. Es una banda que trabaja, con una profunda interacción, y cuando Pratt y Alan Ferber improvisan juntos, sus líneas se entrelazan con una claridad notable. El resultado es Springloaded, un excelente debut de una banda que hay que seguir de cerca. https://www.allaboutjazz.com/springloaded-dan-pratt-sunny-sky-review-by-aaj-staffPor el personal de AAJ
15 de octubre de 2004


www.danpratt.com ...

William Ash • Skyline Dreams

 

WILLIAM ASH has been playing guitar most of his young life. He began learning the instrument at the age of nine, and by the time he was twelve he was working hard at mastering Wes Montgomery's style. During his high school years William studied with Barry Harris and Rodney Jones, and won the Young Talent Search of the National Association of Jazz Educators (NAJE), as well as the McDonald's Combo Contest. This led to him performing as a soloist with a big band at the Oakland Jazz Festival at the request of Buddy Montgomery, brother of the late Wes. William has continued to work as a sideman with a host of jazz legends, including Jack McDuff, Cecil Payne, Roy Hargrove, and Larry Goldings.

On his own instrument, William acknowledges Wes Montgomery as a major influence, and William has been selected several times to appear in tributes to Montgomery. William's style emerges from his experiences playing with the great bop masters, as well as from playing in hard-driving organ combos with the likes of John Patton and Bobby Forrester, and you can clearly hear how he combines twisting bop melodies with deep groove.

William Ash astounds on guitar, performing in a hard-swinging trio setting. William deploys his craft sincerely, and without guile, always drawing on his deep jazz roots.

"a soulfully mellow sound with a driving dynamic approach" -- All About Jazz

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WILLIAM ASH ha estado tocando la guitarra la mayor parte de su vida. Comenzó a aprender el instrumento a la edad de nueve años, y para cuando tenía doce años ya estaba trabajando duro para dominar el estilo de Wes Montgomery. Durante sus años de bachillerato William estudió con Barry Harris y Rodney Jones, y ganó el Young Talent Search de la National Association of Jazz Educators (NAJE), así como el McDonald's Combo Contest. Esto lo llevó a tocar como solista con una gran banda en el Festival de Jazz de Oakland a petición de Buddy Montgomery, hermano del difunto Wes. William ha continuado trabajando como sideman con una gran cantidad de leyendas del jazz, incluyendo a Jack McDuff, Cecil Payne, Roy Hargrove y Larry Goldings.

En su propio instrumento, William reconoce a Wes Montgomery como una gran influencia, y William ha sido seleccionado varias veces para aparecer en homenajes a Montgomery. El estilo de William surge de sus experiencias tocando con los grandes maestros del bop, así como de sus combos de órgano con John Patton y Bobby Forrester, y se puede escuchar claramente cómo combina melodías de bop retorcido con groove profundo.

William Ash sorprende con su guitarra, tocando en un ambiente de trío. William despliega su arte con sinceridad y sin engaños, siempre recurriendo a sus profundas raíces de jazz.

"un sonido soulfully suave con un enfoque dinámico de conducción" -- All About Jazz 

 

chambermusik.com/william-ash ...

Dave Stryker • Blue Strike

 

 

Biography by Matt Collar
An adept jazz guitarist with a strong blues- and soul-influenced sound, Dave Stryker has worked as both a sideman and bandleader for decades. His playing style eschews the sharp, crystalline lines favored by guitar peers; he chooses instead to deliver an intriguingly veiled sound influenced deeply by the organ trios he's played in. He's toured and/or recorded with many musicians, including Jack McDuff, Stanley Turrentine, Jimmy Smith, Lonnie Smith, and Freddie Hubbard. 1992's Guitar on Top featured an all-star band that included Mulgrew Miller. The majority of his discography appears on Steeplechase. His celebrated recordings for the label include 1994's Full Moon, 1996's Blue to the Bone, 2004's Shades Beyond, and 2010's Keystone. Later dates appear on his Strikezone label. 2020's Blue Soul featured him with Bob Mintzer arranging and conducting the WDR Big Band. 2021's As We Are included John Pattitucci, Brian Blade, and Julian Shore. 2024's Groove Street featured Stryker's organ trio with Mintzer as a guest soloist.

Born in 1957 in Omaha, Nebraska, Stryker began playing guitar at age 10 by listening to records by the Beatles, Cream, and Johnny Winter. Soon, however, he was investigating the music of influential blues artists like Freddie King, as well as more heady jazz improvisers like Wes Montgomery, Kenny Burrell, and Miles Davis. By his teens, he was gigging regularly around Omaha, and in 1978, moved to Los Angeles where he studied for a time with guitarist Billy Rogers, and befriended, and landed a gig with Hammond B-3 organ boss Brother Jack McDuff.

After moving to New York City during the '80s, he toured for several years with McDuff's soul-jazz outfit, and in 1986, met Stanley Turrentine. Stryker spent the next decade touring with the saxophonist, during which time he developed significantly, coming into his own as a guitarist respected by his six-string peers and the jazz and blues worlds at large. As a solo artist, Stryker debuted in 1988 with First Strike on an independent label, leading a quartet with drummer Billy Hart, pianist/keyboardist Marc Cohen, saxophonist Steve Slagle, and bassist Ron McLure. In 1991 he signed with SteepleChase and issued Passage on SteepleChase, which also featured Joey Calderazzo, Adam Nussbaum, and others. From there, he delivered a steady stream of well-regarded albums on SteepleChase like Guitar on Top in 1992, 1993's Full Moon, 1994's Nomad, 1996's Blue to the Bone, and 1999's Blue to the Bone II. Stryker paid tribute to Davis with Shades of Miles in 2000 with added personnel including Larry Goldings on Hamond B-3, trumpeter Brian Lynch, and saxophonist Billy Drewes. 2001's Changing Times and 2005's Big City (the first of two albums on MelBay) showcased his eclectic brand of guitar-based blues, swing, New Orleans funk, soul-jazz, and rock. He followed with The Chaser in 2006. During this period, Stryker also appeared as a sideman on albums by Kevin Mahogany, James Williams, and Royce Campbell, and co-led several dates with saxophonist Steve Slagle. In 2010, he paid homage to longtime bandmate, drummer Tony Reedus (who died from a pulmonary embolism in 2008) with the organ-steeped One for Reedus, which also marked his return to SteepleChase. That same year he issued Keystone with drummer Quincy Davis. Another organ quintet session, Blue Strike, followed.

In 2014, Stryker launched Strikezone Records, kicking things off with Eight Track featuring vibraphonist Stefon Harris, organist Jared Gold, and drummer McClenty Hunter. Messin' with Mister T followed a year later, with guest spots from Eric Alexander, Jimmy Heath, Chris Potter, and many more. Following the sequel Eight Track II, he released the 2017 quartet session Strykin' Ahead and Eight Track III a year later. He released his first holiday album, Eight Track Christmas, in 2019. Saxophonist, composer, and arranger Bob Mintzer guested with Stryker's organ trios on several occasions in concert. The principal conductor of Cologne, Germany's world-class WDR Big Band, he got the idea that his jazz orchestra would be well served supporting Stryker's organ trio. He worked up new charts for then-recent Stryker tunes, covers of Marvin Gaye, Prince, and Jimmy Webb, and contributed his own "Aha." The set was released as Blue Soul in 2020 on Strikezone and credited to Dave Stryker with Bob Mintzer and the WDR Big Band -- Mintzer conducted and wrote the charts.

Following a European tour, he returned to the studio with his trio and guest saxophonist Walter Smith III for 2021's Baker's Circle. The following year, Stryker changed up his record making and composing formulas for As We Are. He reteamed with Pattitucci, Blade, and Shore and added a string quartet that included violinist Sara Caswell and cellist Marika Hughes. The album garnered almost universal acclaim for its advanced textures, dynamics, and control. Stryker wrote seven of the set's nine tunes, which also included one by Shore and a cover of Nick Drake's "River Man."

Stryker and company toured for most of 2023; he returned to the studio late in the year with his Gold and Hunter with Mintzer as a featured co-billed guest. Stryker composed three of the album's nine tracks, Mintzer, two more, and Gold, one. They filled out the set with covers of Harry Warren's standard "The More I See You," Wayne Shorter's jazz classic "Infant Eyes," and Eddie Harris' eternally funky "Cold Duck Time." Titled Groove Street, the album was released in January 2024.
https://www.allmusic.com/artist/dave-stryker-mn0000575988#biography

www.davestryker.com

Jared Gold • All Wrapped Up

 

Hammond B3 organ master Jared Gold wastes no time building a head of steam, launching All Wrapped Up with “My Sentiments Exactly,” one of the more driving tracks on his latest CD. Like the other tunes on this entertaining disc, it gives each player plenty of blowing room. It’s a robust reminder of a time when jazz was sociable, and Gold’s light touch makes it cohere.

Listening to All Wrapped Up will awaken memories of walking into a neighborhood bar and coming across a cooking band: In this case, Gold plus tenor saxophonist Ralph Bowen, trumpeter/flugelhornist Jim Rotondi and drummer Quincy Davis. This is comfortable music no matter how fierce the improvisation or how passionate the playing. Check out how Gold sneaks around Rotondi’s solo in Davis’ “Piece of Mine,” how he gooses the jaunty “Just a Suggestion” to set up Bowen’s burly, jagged solo. The band is precise but loose playing this riff- and groove-heavy jazz.

Some titles pack double-entendres, hinting at Gold’s sensibility. The tracks segue easily, encompassing the sultry “Saudades,” the perky “Suggestion,” Rotondi’s slinky “Dark Blue” and “Get Out of My Sandbox,” a bop strut featuring Bowen and Rotondi at their joint best.
Originally Published June 12, 2011
Updated April 25, 2019  – By Carlo Wolff   
https://jazztimes.com/reviews/albums/jared-gold-all-wrapped-up/

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El maestro del órgano Hammond B3, Jared Gold, no pierde el tiempo y se lanza a All Wrapped Up con "My Sentiments Exactly", uno de los temas más cañeros de su último CD. Al igual que el resto de temas de este entretenido disco, da a cada intérprete mucho espacio para soplar. Es un robusto recordatorio de una época en la que el jazz era sociable, y el ligero toque de Gold hace que se cohesione.

Escuchar All Wrapped Up despertará recuerdos de entrar en un bar de barrio y encontrarse con una banda de cocina: En este caso, Gold más el saxofonista tenor Ralph Bowen, el trompetista/flugelhornista Jim Rotondi y el baterista Quincy Davis. Se trata de una música confortable por muy feroz que sea la improvisación o por muy apasionada que sea la forma de tocar. Fíjate en cómo Gold se escabulle alrededor del solo de Rotondi en "Piece of Mine" de Davis, o en cómo se adentra en la alegre "Just a Suggestion" para preparar el fornido e irregular solo de Bowen. La banda es precisa pero suelta al tocar este jazz cargado de riffs y grooves.

Algunos títulos tienen doble sentido, lo que indica la sensibilidad de Gold. Los temas se suceden con facilidad, abarcando la sensual "Saudades", la alegre "Suggestion", la deslizante "Dark Blue" de Rotondi y "Get Out of My Sandbox", un puntal del bop con Bowen y Rotondi en su mejor momento conjunto.
Publicado originalmente el 12 de junio de 2011
Actualizado el 25 de abril de 2019 - Por Carlo Wolff   
https://jazztimes.com/reviews/albums/jared-gold-all-wrapped-up/

www.jaredgoldb3.com ...

 

Jared Gold • Golden Child

 

 

Organist Jared Gold sets his standards high and arrives in style with his latest release "Golden Child." Serious listeners will be delighted to simply sit back and dig the music when Jared brings all the right stuff to this groovy and hard-hitting date. While the focus and crux of "Golden Child" rests squarely upon the shoulders of Mr. Gold and his B-3 organ, the strong showings of guitarist Ed Cherry and drummer Quincy Davis also provide their melodic highlights and consistently exhibit the kind of strong rhythmic support that always keeps the session in the pocket. With an exciting program of musical selections from a wide range of styles, from the funky and familiar to the soulful and original, "Golden Child" certainly exceeds expectations as a swinging collection of performances that jazz enthusiasts can bank on with confidence.
https://www.posi-tone.com/goldenchild/goldenchild.html

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El organista Jared Gold pone el listón muy alto y llega con estilo con su último lanzamiento "Golden Child". Los oyentes serios estarán encantados de simplemente sentarse y cavar la música cuando Jared traiga todo el material adecuado a esta cita groovy y contundente. Mientras que el enfoque y el quid de "Golden Child" descansa directamente sobre los hombros del Sr. Gold y su órgano B-3, las fuertes apariciones del guitarrista Ed Cherry y el baterista Quincy Davis también proporcionan sus puntos de vista melódicos y exhiben constantemente el tipo de apoyo rítmico fuerte que siempre mantiene la sesión en el bolsillo. Con un emocionante programa de selecciones musicales de una amplia gama de estilos, desde el funky y el familiar hasta el conmovedor y original, "Golden Child" ciertamente supera las expectativas como una colección de actuaciones que los entusiastas del jazz pueden confiar.
https://www.posi-tone.com/goldenchild/goldenchild.html

www.jaredgoldb3.com ...

Jared Gold • JG 3+3

Poll-winning organist Jared Gold takes his game to another level for his 7th release as a leader for Posi-Tone Records. With the addition of three horn players to his regular trio and a stunning program of new compositions and innovative arrangements, "JG 3+3" clearly demonstrates Gold's musical leadership and his total mastery of the Hammond organ.  This hard hitting sextet session features the inspired front line playing of Patrick Cornelius on alto saxophone, Tatum Greenblatt on trumpet, and Jason Marshall on baritone saxophone, along with the cool comping of Dave Stryker on guitar, and the steady metrics of Sylvia Cuenca on drums. Jazz fans everywhere will certainly agree that "JG 3+3" is a swinging good time that everyone can dig over and over again!

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El organista Jared Gold, ganador de una encuesta, lleva su juego a otro nivel en su séptimo lanzamiento como líder para Posi-Tone Records. Con la adición de tres trompistas a su trío habitual y un impresionante programa de nuevas composiciones y arreglos innovadores, "JG 3+3" demuestra claramente el liderazgo musical de Gold y su total dominio del órgano Hammond.  Esta impactante sesión de sexteto cuenta con la inspirada interpretación de Patrick Cornelius al saxofón alto, Tatum Greenblatt a la trompeta y Jason Marshall al saxofón barítono, junto con la genial composición de Dave Stryker a la guitarra y la constante métrica de Sylvia Cuenca a la batería. Los aficionados al jazz de todo el mundo estarán de acuerdo en que "JG 3+3" es un buen momento de swing que todo el mundo puede escuchar una y otra vez.

www.jaredgoldb3.com ...

Jared Gold • Metropolitan Rhythm

 

Take a swinging trip and get in tune with serious Latin grooves when organist Jared Gold runs the gauntlet on “Metropolitan Rhythm,” his eighth release for Posi-Tone. Strong showings by sidemen guitarist Dave Stryker and drummer Kush Abadey provide Gold with steady and sensitive support to keep the session hard hitting and deeply in the pocket. With an amazing program of original compositions and a few tasty covers, "Metropolitan Rhythm" exceeds expectations as an exciting performance that is sure to captivate the interest and imagination of straight-ahead jazz enthusiasts everywhere.

"With Metropolitan Rhythm, Gold manages to paint a multi-dimensional picture of urban life that finds balance between drive and restraint, power and finesse, and tradition and innovation." - All About Jazz

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El organista Jared Gold se lanza al ruedo con "Metropolitan Rhythm", su octavo trabajo para Posi-Tone. Las sólidas actuaciones del guitarrista Dave Stryker y del baterista Kush Abadey proporcionan a Gold un apoyo firme y sensible para mantener la sesión con fuerza y profundamente en el bolsillo. Con un programa sorprendente de composiciones originales y algunas sabrosas versiones, "Metropolitan Rhythm" supera las expectativas como una actuación emocionante que seguramente cautivará el interés y la imaginación de los entusiastas del jazz directo de todo el mundo.

"Con Metropolitan Rhythm, Gold consigue pintar un cuadro multidimensional de la vida urbana que encuentra el equilibrio entre el impulso y la contención, la potencia y la delicadeza, y la tradición y la innovación". - All About Jazz

www.jaredgoldb3.com ...

Dave Stryker • Blue Degrees

 

 

Dave Stryker (3/30/57) grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuff's group for two years 1984-85. When McDuff wasn't on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude's Lounge in Harlem. His first break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist.

It was at Dude's Lounge that Stryker met tenor saxophonist Stanley Turrentine, who would occasionally sit in. After leaving McDuff, Turrentine asked Stryker to join his quintet. From 1986-1995 he played with the legendary saxophonist at all the major festivals, concert halls, and clubs throughout the world. He is featured on two Turrentine CD's (Stanley recorded Stryker's tune "Sidesteppin"). With Turrentine, Stryker was able to play with such jazz greats as Dizzy Gillespie and Freddie Hubbard. The ten years playing alongside the tenor legend helped Stryker realize the importance of having his own sound .
Passage - 1991 - was A working quintet with Steve Slagle, Joey Calderazzo, Jay Anderson and Adam Nussbaum.

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Dave Stryker (30/3/57) creció en Omaha, Nebraska y se mudó a la ciudad de Nueva York en 1980. Después de establecerse en la escena musical local, se unió al grupo del organista Jack McDuff durante dos años, 1984-85. Cuando McDuff no estaba de gira (literalmente viajando en camioneta por todo el país) trabajaban cuatro noches a la semana en el Salón Dude en Harlem. Su primer descanso resultó ser una experiencia invaluable, pagando sus deudas noche tras noche con el organista de jazz conmovedor.

Fue en el salón de Dude donde Stryker conoció al saxofonista tenor Stanley Turrentine,quien ocasionalmente se sentaba. Después de dejar McDuff, Turrentine le pidió a Stryker que se uniera a su quinteto. De 1986 a 1995 tocó con el legendario saxofonista en los principales festivales, salas de conciertos y clubes de todo el mundo. Aparece en dos CD de Turrentine (Stanley grabó la melodía de Stryker "Sidesteppin"). Con Turrentine, Stryker pudo tocar con grandes del jazz como Dizzy Gillespie y Freddie Hubbard. Los diez años tocando junto a la leyenda del tenor ayudaron a Stryker a darse cuenta de la importancia de tener su propio sonido .
Passage - 1991-fue un quinteto de trabajo con Steve Slagle, Joey Calderazzo, Jay Anderson y Adam Nussbaum.

www.davestryker.com