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Album of the Week: 20-24 January ‐ Worldwide FM
  • Album of the Week: 20-24 January

    Jeff Parker – Suite For Max Brown [International Anthem] Our album of the week is Jeff Parker‘s “Suite For Max Brown“, that will be out on the 24th of January, on International Anthem. Parker himself is known to many fans as the longtime guitarist for the Chicago–based quintet Tortoise, one of the most critically revered,…

    Jeff Parker – Suite For Max Brown [International Anthem]

    Our album of the week is Jeff Parker‘s “Suite For Max Brown“, that will be out on the 24th of January, on International Anthem.

    Parker himself is known to many fans as the longtime guitarist for the Chicago–based quintet Tortoise, one of the most critically revered, sonically adventurous groups to emerge from the American indie scene of the early nineties. The band’s often hypnotic, largely instrumental sound eludes easy definition, drawing freely from rock, jazz, electronic, and avant-garde music, and it has garnered a large following over the course of nearly thirty years. Aside from recording and touring with Tortoise, Parker has worked as a side man with many jazz greats, including Nonesuch labelmate Joshua Redman on his 2005 Momentum album; as a studio collaborator with other composer-musicians, including Brian Blade, Meshell Ndegeocello, and fellow International Anthem artists Makaya McCraven and Rob Mazurek; and as a solo artist.

    Suite for Max Brown is informally a companion piece to The New Breed, Parker’s 2016 album on International Anthem, which Guardian honoured as ‘the Best Jazz Album of the Year,’ the New York Times and the Los Angeles Times included on their ‘Best Albums of 2016’ lists; and recently, Aquarium Drunkard included it on their ‘Best Albums of the Decade’ 2010-2019 compendium. Guardian said “no other musician in the modern era has moved so seamlessly between rock and jazz like Jeff Parker. As guitarist for Chicago post-rock icons Tortoise, he’s taken the group in new and challenging directions that have kept them at the forefront of pop creativity for the last twenty years. As of late, however, Parker has established himself as one of the most formidable solo talents in modern jazz.”
    Though Parker collaborates with a coterie of musicians under the group name The New Breed, theirs is by no means a conventional “band” relationship. Parker is very much a solo artist on Suite for Max Brown. He constructs a digital bed of beats and samples; lays down tracks of his own on guitar, keyboards, bass, percussion, and occasionally voice; then invites his musician friends to play and improvise over his melodies. But unlike a traditional jazz session, Parker doesn’t assemble a full combo in the studio for a day or two of live takes. His accompanists are often working alone with Parker, reacting to what Parker has provided them, and then Parker uses those individual parts to layer and assemble into his final tracks. The process may be relatively solitary and cerebral, but the results feel like in-the-moment jams—warm-hearted, human, alive. Suite for Max Brown brims with personality, boasting the rhythmic flow of hip hop and the soulful swing of jazz.

    “In my own music I’ve always sought to deal with the intersection of improvisation and the digital era of making music, trying to merge these disparate elements into something cohesive,” Parker explains. “I became obsessed maybe ten or fifteen years ago with making music from samples. I was a big hip-hop fan all my life, but I never delved into the technical aspects of making that music. To keep myself busy, I started to sample music from my own library of recordings, to chop them up, make loops and beats.”

    “So I made The New Breed based off these old sample-based compositions and mixed them with improvising,” he continues. With Max Brown, it’s evolved. I played a lot of the music myself. It’s me playing as many of the instruments as I could. I engineered most it myself at home or during a residency I did at the Headlands Center for the Arts [in Sausalito, California] about a year ago.”

    His New Breed band-mates and fellow travelers on Max Brown include pianist-saxophonist Josh Johnson; bassist Paul Bryan, who co-produced and mixed the album with Parker; piccolo trumpet player Rob Mazurek, his frequent duo partner; trumpeter Nate Walcott, a veteran of Conor Oberst’s Bright Eyes; drummers Jamire Williams, Makaya McCraven, and Jay Bellerose, Parker’s Berklee School of Music classmate; cellist Katinka Klejin of the Chicago Symphony Orchestra; and even his seventeen-year-old daughter Ruby Parker, a student at the Chicago High School of the Arts, who contributes vocals to opening track, “Build A Nest.”

    Ruby’s presence at the start is fitting on multiple levels: it’s how Parker left us on The New Breed, with Ruby singing on that album’s closing track “Cliché,” and their ongoing, multi-generational collaboration is right in line with the familial themes that inspired this album’s title. “That’s my mother’s maiden name. Maxine Brown. Everybody calls her Max. I decided to call it Suite for Max Brown. The New Breed became a kind of tribute to my father because he passed away while I was making the album.

    There is a multi-generational vibe to the music too, as Parker balances his contemporary digital explorations with excursions into older jazz. Along with original compositions, Parker includes “Gnarciss,” an interpretation of Joe Henderson’s “Black Narcissus” and John Coltrane’s “After the Rain” (from his 1963 Impressions album).

    Tracklist:

    1. Build a Nest (feat. Ruby Parker)
    2. C’mon Now
    3. Fusion Swirl
    4. After the Rain
    5. Metamorphoses
    6. Gnarciss
    7. Lydian
    8. Del Rio
    9. 3 for L
    10. Go Away
    11. Max Brown

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