Maxwell’s House Review by Brad Walesth of Jazz Chicago
Published on January 25th, 2010
One of the young jazz artists making their mark on the Chicago scene, alto saxophonist
Shawn Maxwell continues on vigorously despite a music industry that is crumbling before
our eyes and is understandably indifferent to the plight of the lone artist attempting to write
and record new music focused as they are on their own survival. Thankfully, Nick Eipers
and Chicago Sessions took the opportunity to record Maxwell on his third and strongest
outing yet, Maxwell’s House. The rhythm section of double-bassist Kevin Martinez and
drummer Brandon Dickert provide a solid foundation for Maxwell and pianist Matt Nelson
to solo over Maxwell’s gnarly and highly-creative changes. Maxwell growth as a player is
breathtaking - his Kenny Garrett-inspired tone and long lines a fresh change from the usual
alto player’s approach to burn at all times and leave no space. Maxwell shreds and well
when it is appropriate. Nelson, of course, is becoming one of Chicago’s most in-demand
pianists and it is clear why here again as he proves the perfect foil for Maxwell. The compositions
are grounded in the traditional, yet spiked with plenty of surprising shifts and
interesting elements and evidence of Maxwell’s confidence and maturity. For example, the
opening title-track wouldn’t seem out of place in an old Hollywood musical, but for the
modern harmonization and sudden changes, while "Shuffled" bookends a straight-ahead
center with some deliciously twisted lines. The truly beautiful ballad "Five" is indeed in 5/4
time. You will have trouble sitting still as "Jathor" suddenly changes from a mellow shuffle
into an intense rocking section driven by Dickert’s aggressive beat and highlighted by hot
solos by Nelson and Maxwell. A lovely waltz for daughter "Ava," a sprightly Matt
Nelson/Matt Nischan original "If Only," the leisurely-paced "Welcome," the funky waltz of
"Sector 7-G," the high-stepping "Different Colors of Cool" and a new version of his mindbending
"Dangerous Curve" follow, and showcase the wide range of Maxwell’s vision. By
following his own way, Maxwell has created another album of importance based on his
originality and sense of purpose. As such, it is impossible to resist the urge to claim that
Maxwell’s House is good to the last note.
Review by Brad Walesth
www.jazzchicago.net
