Nir Felder – Iii

Drummer Otis Brown III – an invaluable sideman with the likes of Esperanza Spalding, Joe Lovano, Terence Blanchard, Oliver Lake, Somi, and others – have released his debut album "The Thought of You" via Revive/Blue Note. Brown’s maiden voyage features an impressive roll call of artists including a core band consisting of pianist Robert Glasper, trumpeter Keyon Harrold, saxophonist John Ellis, and bassist Ben Williams, with organist Shedrick Mitchell and guitarist Nir Felder making special appearances. Singers Bilal, Gretchen Parlato, and Nikki Ross contribute standout performances that underscore the sentiments of the album’s co-producer, Derrick Hodge, who says, “Otis has become one of those drummers who once you hear him play, his experience becomes your experience in the moment”.

Much is said about records once they've come into the world, but little is discussed about the motive(s) surrounding the birthing of a record. Sometimes it's simply about marketing, exposure, money, and pure narcissism. There's nothing necessarily wrong with that on some level(s), and many classic albums have been made with little to nothing else in mind, but it's harder to appreciate the artistry and the artist when records made for such reasons appear on the horizon. It's far more satisfying to sit back and soak in the beauty and power of expertly-crafted music that's been made in the name of self-expression by an artist who simply wants to capture who he (or she) is on a record. At least that's the case with this one.

As one of jazz’s busiest drummers, and leader of a band filled with in-demand players, Eric Harland has to take his time in between Voyager albums. But they are consistently worth the wait. 13th Floor, the group’s second studio album, continues to refine a language of lofty, joyous melodicism and turbulent rhythm, with the pastoral moods of “New Song” and “Plane Over Kansas” bumping against the agitated beats of “Fast 5” and “September 24” or the driving all-out swing of “Contrast.” Not just a forum for flashy solos, the program overflows with lyrical unisons, counterpoint, and arranged elements that add dimension to the sound.