Maxwell’s House Review in Chicago Jazz Magazine
Published on May 25th, 2010
For the past year Chicago Sessions has been doing a remarkable job of recording and exposing local talent. The twelfth and last volume of 2009, Maxwell’s House showcases the exceptional skills of altoist Shawn Maxwell. Maxwell names Kenny Garrett as his primary influence, but his sound is more reminiscent of Jackie McLean’s 1960s Blue Note recordings, although Maxwell’s tone is a bit deeper with a little less bite.
Eight of the ten compositions, all but one by the leader, that make up this CD are edgy, forward-looking, hard bop with a good measure of modal improvisations mixed in, not unlike MacLean’s work form the above mentioned era. The album opens and closes with a bang: both “Maxwell’s House” and “Dangerous Curve” are complex, yet catchy tunes with long, winding yet mellifluous and logical solos that reward repeated plays. The sole ballad (dedicated to his wife) and waltz (dedicated to his daughter) are looser more laid back affairs and sound a bit alike.
There are moments during which they sound a tad monotonous, but they are pleasant enough and blend well with the overall program. The sole track not composed by Maxwell, “If Only,” is in the same vein as the others. It is pianist Matt Nelson’s contribution, whose presence at this session is a real revelation. He takes uniquely constructed lengthy improvisations on all of the pieces and elevated the overall work to a higher artistic level.
His sound vaguely resembles a cross between the bluesy stylings of Sonny Clark and the freer sound of Walter Davis Jr. He switches easily between swingy blues to sparse sounds of modal jazz. Bassist Kevin Martinez and drummer Brandon Dickert provide adequate rhythmic support and take rare yet quite interesting solos. Although there is nothing revolutionary about this recording it is an extremely rewarding modern take on the edgy, modal hard bop of the 1960s with something extra for the 21st century.
—Hrayr Attarian
