John Moulder of Chicago spent five years composing the material for his album Trinity. It's an epic three-part program inspired by religious belief, but it can be appreciated on any number of levels. The sound of the recording is tremendous, as are the performances...Moulder impresses with his harmonic imagination and sheer ambition. The orchestrations are varied and fine-grained, not to mention expertly produced by Moulder and Brad Peters...to these ears it is probing and kaleidoscopic.
-David Adler, Jazz Times
There is a small but long-standing tradition of jazz informed by faith, whether it's a Gospel-influenced tune, or more expansive spiritual pieces like the sacred works of Duke Ellington or Coltrane's "A Love Supreme." Guitarist and composer John Moulder has communicated his personal faith in a suite entitled Trinity, which is his musical interpretation of "our journey in God from the primordial to the eternal." Moulder chronologically follows that trek, with the suite's genesis in the frenetic "Chaos." That movement is followed by the peaceful mood of "Creation" and a jaunty, 5/4 "Exodus." On electric and acoustic guitars, he traces other feelings of the familiar biblical narrative through an uptempo "Proclamation of the Unexpected," an uplifting "Resurrection" and a bluesy
There is a small but long-standing tradition of jazz informed by faith, whether it's a Gospel-influenced tune, or more expansive spiritual pieces like the sacred works of Duke Ellington or Coltrane's "A Love Supreme." Guitarist and composer John Moulder has communicated his personal faith in a suite entitled Trinity, which is his musical interpretation of "our journey in God from the primordial to the eternal." Moulder chronologically follows that trek, with the suite's genesis in the frenetic "Chaos." That movement is followed by the peaceful mood of "Creation" and a jaunty, 5/4 "Exodus." On electric and acoustic guitars, he traces other feelings of the familiar biblical narrative through an uptempo "Proclamation of the Unexpected," an uplifting "Resurrection" and a bluesy shuffle with the ending "Freedom." With a range of feelings that mirror that of the stories of the Judeo-Christian tradition, Moulder and guests including Laurence Hobgood, Paul Wertico and Paul McCandless have created a work of musical and spiritual beauty.
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.
In some ways in a similar vein as Duke Ellington's Sacred Music, John Moulder here creates a set of his own inspirational jazz. The performances are exquisite, with sensitive performances on all instruments. The mood is contemplative, meditative, as one would probably expect. Moulder's guitar strums out only what it needs to, with Laurence Hobgood's piano in tandem. Others often take on the temporary role of lead, with a soft run on the trumpet or sax playing out the main melody. The compositions are careful, tentative, but almost more literal than one would expect in the jazz world. Chaos, the opening track, builds from a quiet nothingness (primordiality) to a clashing finish. Creation builds methodically, with what seem to be
In some ways in a similar vein as Duke Ellington's Sacred Music, John Moulder here creates a set of his own inspirational jazz. The performances are exquisite, with sensitive performances on all instruments. The mood is contemplative, meditative, as one would probably expect. Moulder's guitar strums out only what it needs to, with Laurence Hobgood's piano in tandem. Others often take on the temporary role of lead, with a soft run on the trumpet or sax playing out the main melody. The compositions are careful, tentative, but almost more literal than one would expect in the jazz world. Chaos, the opening track, builds from a quiet nothingness (primordiality) to a clashing finish. Creation builds methodically, with what seem to be references to 2001: A Space Odyssey and the moment of the monolith. Incarnation is particularly gentle, but with a touch of sadness. The music of the various mysteries gods directly for the exotic sound, with udu and berimbau enlisted to aid in the transition. Resurrection involves a Weather Report-like buildup, with cheer and power intertwined. It's a fine album musically, but almost exactly what one might expect if told only that it was inspirational jazz.
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Press Review –
John Moulder of Chicago spent five years composing the material for his album Trinity. It's an epic three-part program inspired by religious belief, but it can be appreciated on any number of levels. The sound of the recording is tremendous, as are the performances...Moulder impresses with his harmonic imagination and sheer ambition. The orchestrations are varied and fine-grained, not to mention expertly produced by Moulder and Brad Peters...to these ears it is probing and kaleidoscopic.
-David Adler, Jazz Times
David Adler, Jazz Times
Website
There is a small but long-standing tradition of jazz informed by faith, whether it's a Gospel-influenced tune, or more expansive spiritual pieces like the sacred works of Duke Ellington or Coltrane's "A Love Supreme." Guitarist and composer John Moulder has communicated his personal faith in a suite entitled Trinity, which is his musical interpretation of "our journey in God from the primordial to the eternal." Moulder chronologically follows that trek, with the suite's genesis in the frenetic "Chaos." That movement is followed by the peaceful mood of "Creation" and a jaunty, 5/4 "Exodus." On electric and acoustic guitars, he traces other feelings of the familiar biblical narrative through an uptempo "Proclamation of the Unexpected," an uplifting "Resurrection" and a bluesy
...more
Ed Trefzger, JazzWeek
Website
Ed Trefzger, JazzWeek
Website
There is a small but long-standing tradition of jazz informed by faith, whether it's a Gospel-influenced tune, or more expansive spiritual pieces like the sacred works of Duke Ellington or Coltrane's "A Love Supreme." Guitarist and composer John Moulder has communicated his personal faith in a suite entitled Trinity, which is his musical interpretation of "our journey in God from the primordial to the eternal." Moulder chronologically follows that trek, with the suite's genesis in the frenetic "Chaos." That movement is followed by the peaceful mood of "Creation" and a jaunty, 5/4 "Exodus." On electric and acoustic guitars, he traces other feelings of the familiar biblical narrative through an uptempo "Proclamation of the Unexpected," an uplifting "Resurrection" and a bluesy shuffle with the ending "Freedom." With a range of feelings that mirror that of the stories of the Judeo-Christian tradition, Moulder and guests including Laurence Hobgood, Paul Wertico and Paul McCandless have created a work of musical and spiritual beauty.
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.
In some ways in a similar vein as Duke Ellington's Sacred Music, John Moulder here creates a set of his own inspirational jazz. The performances are exquisite, with sensitive performances on all instruments. The mood is contemplative, meditative, as one would probably expect. Moulder's guitar strums out only what it needs to, with Laurence Hobgood's piano in tandem. Others often take on the temporary role of lead, with a soft run on the trumpet or sax playing out the main melody. The compositions are careful, tentative, but almost more literal than one would expect in the jazz world. Chaos, the opening track, builds from a quiet nothingness (primordiality) to a clashing finish. Creation builds methodically, with what seem to be
...more
Adam Greenberg, All Music Guide
Website
Adam Greenberg, All Music Guide
Website
In some ways in a similar vein as Duke Ellington's Sacred Music, John Moulder here creates a set of his own inspirational jazz. The performances are exquisite, with sensitive performances on all instruments. The mood is contemplative, meditative, as one would probably expect. Moulder's guitar strums out only what it needs to, with Laurence Hobgood's piano in tandem. Others often take on the temporary role of lead, with a soft run on the trumpet or sax playing out the main melody. The compositions are careful, tentative, but almost more literal than one would expect in the jazz world. Chaos, the opening track, builds from a quiet nothingness (primordiality) to a clashing finish. Creation builds methodically, with what seem to be references to 2001: A Space Odyssey and the moment of the monolith. Incarnation is particularly gentle, but with a touch of sadness. The music of the various mysteries gods directly for the exotic sound, with udu and berimbau enlisted to aid in the transition. Resurrection involves a Weather Report-like buildup, with cheer and power intertwined. It's a fine album musically, but almost exactly what one might expect if told only that it was inspirational jazz.