Top 10 Innovative Jazz Releases of 2009
For the past 20 years or so, excellent guitarists have been plentiful in Chicago, and Moulder ranks high among them. On "Bifrost," he offers some of the most profound work of his career, alternating vastly scaled tone poems with exquisitely delicate, spiritual pieces. His work only deepens with time.
-Howard Reich, Chicago Tribune
Sacred music does not typically unfold in gritty jazz clubs.
But considering that the headliner at the Green Mill over the weekend was a Catholic priest, the rarefied choice of material seemed thoroughly appropriate.
Though guitarist John Moulder has been performing and recording steadily here for the past couple of decades, he achieved an artistic high point in 2006 when he released "Trinity" (Origin Records). Like Duke Ellington's Sacred Concerts and John Coltrane's "A Love Supreme," Moulder's "Trinity" addressed themes of faith and divinity, in a jazz context.
This often exalted music dominated Moulder's first set Friday night, a fine choice considering the holiday season that approaches.
In "Trinity," Moulder explores the deepest themes imaginable. Movements such as "Chaos," "Creation"
Sacred music does not typically unfold in gritty jazz clubs.
But considering that the headliner at the Green Mill over the weekend was a Catholic priest, the rarefied choice of material seemed thoroughly appropriate.
Though guitarist John Moulder has been performing and recording steadily here for the past couple of decades, he achieved an artistic high point in 2006 when he released "Trinity" (Origin Records). Like Duke Ellington's Sacred Concerts and John Coltrane's "A Love Supreme," Moulder's "Trinity" addressed themes of faith and divinity, in a jazz context.
This often exalted music dominated Moulder's first set Friday night, a fine choice considering the holiday season that approaches.
In "Trinity," Moulder explores the deepest themes imaginable. Movements such as "Chaos," "Creation" and "Resurrection" attest to the breadth of the composer's vision and the intellectual rigor of his best work.
If the soaring melodic lines and unstoppable rhythmic sway of "Creation" established the quality of Moulder's writing, the music that followed underscored his gifts as improviser.
Even when Moulder was playing full-tilt, producing fast-flying lines of considerable complexity, the easy flow of his ideas and luster of his sound were unmistakable.
When Moulder and his quartet ventured into the climactic "Freedom" movement of "Trinity," the musicmaking took on a New Orleans hue. Its second-line parade rhythms and feverish blues exhortations underscored Moulder's message: that all-American jazz can express divine aspirations as eloquently as any genre (if not more so).
Among the evening's other highlights was a newly penned ballad, "About Us," for which Moulder put down his electric guitar and went acoustic. Who would have guessed that a guitarist who pours so much fire-and-brimstone into his plugged-in work could also play with such sensitivity and grace?
In this piece, and others, Moulder benefited from the work of Chicago drummer-percussionist Paul Wertico, whose keen sense of time and color distinguish him from most of his peers.
John Moulder–
Though John Moulder has been recording and performing for twenty years now, his name recognition hasnât risen to that of the top ranks of jazz guitarists. It really should. No exaggeration. His most recent album, The Eleventh Hour: Live at the Green Mill, is proof of that. Apparently the result of serendipity, the album exists because recording engineer Ken Christianson suggested recording Moulderâs quintet at Chicagoâs Green Mill during a scheduled engagement. First of all, kudos to Christianson for a fine job of sound engineering, catching the nuances of tone, the crispness of articulation and the cohesiveness of interaction, even while recording crowd response at the end of each piece. For that reason alone, The Eleventh Hour represents an excellent
Bill Donaldson, Cadence Jazz Magazine
Chicago, IL Website
Bill Donaldson, Cadence Jazz Magazine
Chicago, IL Website
Though John Moulder has been recording and performing for twenty years now, his name recognition hasnât risen to that of the top ranks of jazz guitarists. It really should. No exaggeration. His most recent album, The Eleventh Hour: Live at the Green Mill, is proof of that. Apparently the result of serendipity, the album exists because recording engineer Ken Christianson suggested recording Moulderâs quintet at Chicagoâs Green Mill during a scheduled engagement. First of all, kudos to Christianson for a fine job of sound engineering, catching the nuances of tone, the crispness of articulation and the cohesiveness of interaction, even while recording crowd response at the end of each piece. For that reason alone, The Eleventh Hour represents an excellent live album. Blending performance and reaction into a memorable synthesis, the album adds another level of excitement to compositions that have appeared on Moulderâs previous CDâs. But the music itself, live or in a studio, distinguishes the project. Moulder plays with experienced confidence, not only altering technique to achieve effect, but also creating mood. Whether bending or distorting tone or playing with acoustic clarity, Moulder pulls in the audience with his heightening layers of dynamism. Also, Moulder works with like-minded musicians who share his vision and his sound. All but saxophonist Geof Bradfield have worked with Moulder on previous projects, but still Bradfield contributes sonic depth and naturalistic verisimilitude on bass clarinet. The quintet does perform as a single unit, achieving a totality of effect that transcends that of a single instrument. While Moulder is setting the stage for a narrative-like creation with his haunting reverb and ethereal melody for âCreation,â Larry Gray grounds the motion with his steady but understated bass lines. Though playing another chorded instrument, pianist Jim Trompeter has adapted his technique to complement Moulderâs by splashing broad chords from both hands to add color and harmonic density as the guitarist solos on, say, âCold Sea Triptych.â Moulderâs style and Moulderâs group are fully developed and achieve instantaneous audience response to a modally oriented composition in five-four like âAfrican Sunset.â âEleventh Hourâ too proceeds in stately, deliberate, forceful fashion from modal improvisational opportunities in moderatetempo groups of eleven beats. Not an experiment nor cleverness, âEleventh Hourâ nonetheless grips the audience with passionate expressiveness. âMagical Spaceâ investigates the nooks and crannies of beauty as Moulder develops a fully realized haunting musical story line, once again embellished by Trompeterâs tidal chords and drummer Paul Werticoâs accents from brushed cymbals. And speaking of Wertico, in whose groups Moulder has participated for over fifteen years, the spontaneity of the exchange of ideas between them is particularly noticeableâand engaging. âTime Beingâ starts relatively simply with Bradfield stating the singable melody without elaboration; Werticoâs rustling and bridled energy becomes evident under Bradfieldâs long tones as if Wertico is waiting to be released. Suspicions set up by Werticoâs foreshadowing are confirmed as the simplicity dissolves to reveal the underlying force, unbridled when, satisfyingly (to the crowdâs yelps and applause), Wertico solos midway through the track. All drumming breaks loose. Werticoâs solo becomes the trackâs fulcrum, initially unsuspected by the audience, as singsong evolves into dynamism. The ironic contrasts within âTime Beingââmelodic ease against restrained force, introductory singability against rock-like final intensityâare but one example of Moulderâs shrewd compositional imagination. Combined with like-minded first-rate musicians and the thrill of constant bursts of surprise, The Eleventh Hour: Live at the Green Mill overflows with memorable moments available now to a broader listening audience.
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Press Review –
Top 10 Innovative Jazz Releases of 2009
For the past 20 years or so, excellent guitarists have been plentiful in Chicago, and Moulder ranks high among them. On "Bifrost," he offers some of the most profound work of his career, alternating vastly scaled tone poems with exquisitely delicate, spiritual pieces. His work only deepens with time.
-Howard Reich, Chicago Tribune
Howard Reich, Chicago Tribune
Chicago, IL
Website
Press Review –
Sacred music does not typically unfold in gritty jazz clubs.
But considering that the headliner at the Green Mill over the weekend was a Catholic priest, the rarefied choice of material seemed thoroughly appropriate.
Though guitarist John Moulder has been performing and recording steadily here for the past couple of decades, he achieved an artistic high point in 2006 when he released "Trinity" (Origin Records). Like Duke Ellington's Sacred Concerts and John Coltrane's "A Love Supreme," Moulder's "Trinity" addressed themes of faith and divinity, in a jazz context.
This often exalted music dominated Moulder's first set Friday night, a fine choice considering the holiday season that approaches.
In "Trinity," Moulder explores the deepest themes imaginable. Movements such as "Chaos," "Creation"
...more
Howard Reich, Chicago Tribune
Chicago, IL
Website
Howard Reich, Chicago Tribune
Chicago, IL
Website
Sacred music does not typically unfold in gritty jazz clubs.
But considering that the headliner at the Green Mill over the weekend was a Catholic priest, the rarefied choice of material seemed thoroughly appropriate.
Though guitarist John Moulder has been performing and recording steadily here for the past couple of decades, he achieved an artistic high point in 2006 when he released "Trinity" (Origin Records). Like Duke Ellington's Sacred Concerts and John Coltrane's "A Love Supreme," Moulder's "Trinity" addressed themes of faith and divinity, in a jazz context.
This often exalted music dominated Moulder's first set Friday night, a fine choice considering the holiday season that approaches.
In "Trinity," Moulder explores the deepest themes imaginable. Movements such as "Chaos," "Creation" and "Resurrection" attest to the breadth of the composer's vision and the intellectual rigor of his best work.
If the soaring melodic lines and unstoppable rhythmic sway of "Creation" established the quality of Moulder's writing, the music that followed underscored his gifts as improviser.
Even when Moulder was playing full-tilt, producing fast-flying lines of considerable complexity, the easy flow of his ideas and luster of his sound were unmistakable.
When Moulder and his quartet ventured into the climactic "Freedom" movement of "Trinity," the musicmaking took on a New Orleans hue. Its second-line parade rhythms and feverish blues exhortations underscored Moulder's message: that all-American jazz can express divine aspirations as eloquently as any genre (if not more so).
Among the evening's other highlights was a newly penned ballad, "About Us," for which Moulder put down his electric guitar and went acoustic. Who would have guessed that a guitarist who pours so much fire-and-brimstone into his plugged-in work could also play with such sensitivity and grace?
In this piece, and others, Moulder benefited from the work of Chicago drummer-percussionist Paul Wertico, whose keen sense of time and color distinguish him from most of his peers.
John Moulder –
Though John Moulder has been recording and performing for twenty years now, his name recognition hasnât risen to that of the top ranks of jazz guitarists. It really should. No exaggeration. His most recent album, The Eleventh Hour: Live at the Green Mill, is proof of that. Apparently the result of serendipity, the album exists because recording engineer Ken Christianson suggested recording Moulderâs quintet at Chicagoâs Green Mill during a scheduled engagement. First of all, kudos to Christianson for a fine job of sound engineering, catching the nuances of tone, the crispness of articulation and the cohesiveness of interaction, even while recording crowd response at the end of each piece. For that reason alone, The Eleventh Hour represents an excellent
...more
Bill Donaldson, Cadence Jazz Magazine
Chicago, IL
Website
Bill Donaldson, Cadence Jazz Magazine
Chicago, IL
Website
Though John Moulder has been recording and performing for twenty years now, his name recognition hasnât risen to that of the top ranks of jazz guitarists. It really should. No exaggeration. His most recent album, The Eleventh Hour: Live at the Green Mill, is proof of that. Apparently the result of serendipity, the album exists because recording engineer Ken Christianson suggested recording Moulderâs quintet at Chicagoâs Green Mill during a scheduled engagement. First of all, kudos to Christianson for a fine job of sound engineering, catching the nuances of tone, the crispness of articulation and the cohesiveness of interaction, even while recording crowd response at the end of each piece. For that reason alone, The Eleventh Hour represents an excellent live album. Blending performance and reaction into a memorable synthesis, the album adds another level of excitement to compositions that have appeared on Moulderâs previous CDâs. But the music itself, live or in a studio, distinguishes the project. Moulder plays with experienced confidence, not only altering technique to achieve effect, but also creating mood. Whether bending or distorting tone or playing with acoustic clarity, Moulder pulls in the audience with his heightening layers of dynamism. Also, Moulder works with like-minded musicians who share his vision and his sound. All but saxophonist Geof Bradfield have worked with Moulder on previous projects, but still Bradfield contributes sonic depth and naturalistic verisimilitude on bass clarinet. The quintet does perform as a single unit, achieving a totality of effect that transcends that of a single instrument. While Moulder is setting the stage for a narrative-like creation with his haunting reverb and ethereal melody for âCreation,â Larry Gray grounds the motion with his steady but understated bass lines. Though playing another chorded instrument, pianist Jim Trompeter has adapted his technique to complement Moulderâs by splashing broad chords from both hands to add color and harmonic density as the guitarist solos on, say, âCold Sea Triptych.â Moulderâs style and Moulderâs group are fully developed and achieve instantaneous audience response to a modally oriented composition in five-four like âAfrican Sunset.â âEleventh Hourâ too proceeds in stately, deliberate, forceful fashion from modal improvisational opportunities in moderatetempo groups of eleven beats. Not an experiment nor cleverness, âEleventh Hourâ nonetheless grips the audience with passionate expressiveness. âMagical Spaceâ investigates the nooks and crannies of beauty as Moulder develops a fully realized haunting musical story line, once again embellished by Trompeterâs tidal chords and drummer Paul Werticoâs accents from brushed cymbals. And speaking of Wertico, in whose groups Moulder has participated for over fifteen years, the spontaneity of the exchange of ideas between them is particularly noticeableâand engaging. âTime Beingâ starts relatively simply with Bradfield stating the singable melody without elaboration; Werticoâs rustling and bridled energy becomes evident under Bradfieldâs long tones as if Wertico is waiting to be released. Suspicions set up by Werticoâs foreshadowing are confirmed as the simplicity dissolves to reveal the underlying force, unbridled when, satisfyingly (to the crowdâs yelps and applause), Wertico solos midway through the track. All drumming breaks loose. Werticoâs solo becomes the trackâs fulcrum, initially unsuspected by the audience, as singsong evolves into dynamism. The ironic contrasts within âTime Beingââmelodic ease against restrained force, introductory singability against rock-like final intensityâare but one example of Moulderâs shrewd compositional imagination. Combined with like-minded first-rate musicians and the thrill of constant bursts of surprise, The Eleventh Hour: Live at the Green Mill overflows with memorable moments available now to a broader listening audience.