Matthew Warnok at All About Jazz

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
 

The Shawn Maxwell Quartet recently hosted a CD release party at Andy’s for their new CD, "Maxwell’s House."  The guys at jazzchicago.net were on hand.  Check out their coverage by click on the link below.

http://www.jazzchicago.net/reviews/2009/SMAndys.html

Check out Shawn Maxwell on The Mike Jeffers Chicago Jazz Radio Show.  You can hear the podcast at the link below:

http://chicagojazzradio.podbean.com/

This show was aired on December 1st, 2009, part 1.

Shawn Maxwell will be featured on the All Things Jazz program on WDCB on Sunday, November 29th, 2009 from 12pm to 3pm.  They will be playing tracks from Shawn Maxwell including tracks from the upcoming release, Maxwell’s House.  Chicago area residents can hear it at 90.9FM.  Everyone can hear it streaming at http://wdcb.org/

Shawn Maxwell – Alto saxophone, clarinet, flute
Matt Nelson – Piano
Graham Czach – Acoustic bass
Brad Dickert – Drums
Aaron Koppel – Guitar
Johanna Mahmud – Trombone

Alto saxophonist Shawn Maxwell has been making waves around Chicago these past few years, playing at such local hotspots as Andy’s Jazz Club, Pete Miller’s Steakhouse and Philander’s while hawking his first disc, Originals, throughout the world. In the ensuing years since Originals was released, Maxwell has grown exponentially as a player, both from the standpoint of chops and more importantly, musicality. The result is his newest disc, Originals II. While the name might lack, errr…, originality, the music on here has improved tenfold over his debut effort. That’s not to knock Maxwell’s first album; rather, it shows how he’s put the time between these two discs to good use.

While Maxwell’s musicality has primed him well for this newest release, probably the single biggest asset in Originals II’s favor is Maxwell’s choice in sidemen. Graham Czach and Brad Dickert are a potent rhythm section, providing the proper snap and low end necessary for a solid program of excellent music. The real showstopper here, though, is pianist Matt Nelson. This cat is baaad––as in bad on the level of Dan Cray, Ron Perrillo or Ben Lewis (if these names mean nothing to you, you’ve got some homework to do). Put a trio like that together with a saxophonist writing some excellent tunes, and you’ve got a band that spells trouble. Especially because they’ve put in a ton of time together in the past couple of years, ensuring that they’re comfortable with all of this material.

What I find most interesting about this disc is how supple this band is. They can swing hard. They can play in, on and around knotty lines and straight eighth-note patterns with a looseness that separates the best from the good. And for a band that doesn’t seem like they’ve spent too much time at Exodus or The Wild Hare, they can knock out some pretty convincing Reggae, like on “Working Dog,” which features some trombone reminiscent of The Skatellites, courtesy of Johanna Mahmud.

For this writer, the most interesting moments on Originals II are the songs where Maxwell seems willing and able to craft jazz on his terms, with his grooves and his ideas. “Grimlock” is a fantastic example of this. Shawn wrote a fairly genius line for this tune, full of quirks, including an ear-catching drumbeat. Matt Nelson plays some shimmering Rhodes (not to mention, a jaw-dropping solo), and the result is very cool, and hardly the norm.

To sum it all up, Shawn Maxwell has announced that he is a composer and a player to be dealt with on Originals II. He’s come into his own as a leader, seeking out top-notch talent to flesh out his material. His songwriting style is still developing, and while not instantaneously recognizable a la Monk or Shorter, it certainly has its own inner logic, and one can hear the seeds of greatness planted throughout this CD. If you can find a copy of Originals II, buy it. You won’t be disappointed. And if you get a chance to see these guys play this stuff live, don’t pass it up. This is a young group filled with A-list talent that will certainly kick up some heavy dust on this stuff live.

By: Paul Abella

You can catch The Shawn Maxwell Quartet every Wednesday in March & April at Pete Miller’s.  During the month of March we will be at the Schaumburg location on the 4th, 11th, 18th & 25th.  During the month of April we will be at the Wheeling location on the 1st, 8th, 15th, 22nd & 29th.  Hope to see you out.  For more information check our calendar page.

By Dan McClenaghan of allaboutjazz.com

Multiple reedist (alto saxophone, mainly) Shawn Maxwell titled his fine debut CD Originals (Self-Produced, 2005). It was an apt tag for a set of all original tunes, played by Maxwell and an excellent backing unit fronted by the leader’s distinctively tart and intrepid horn sound. His sophomore outing, Originals II, is more of the same, and pushes his modern approach—with a strong rooting in the bop tradition—forward a notch or three.

The set opens with "Rice" (there are some odd song titles here), and the group has a mood of freshness and good time spontaneity behind Maxwell, whose alto tone has a loose, honking and rather rough-hewn feeling to it. This, and much of the set, gives a ’60s Blue Note Records vibe, pushed into the new century.

"Duck Snort," in spite of a title that might imply otherwise, swings easy, and pianist Matt Nelson solos with an impressive gusto. "Year Three" features Maxwell on flute, blowing light, frosty lines around Graham Czach’s bowed bass and the spare tinkle of Nelson’s piano, on a pensive and classical-sounding break in the bop atmosphere.

"Grimlock" gets a glow of electric keyboards and a tight groove, sounding a bit Yellowjacket-ish, and on "Working Dog" guest trombonist Johanna Mahmud opens the tune with bold tones before Maxwell moans in on bass clarinet in front of an organ simmer. Vim and vigor is the name of the game with "Leather," fronting the band with a dark, woody tone on clarinet, while Nelson steps light and breezy on the keys, and on "Sodor," Maxwell blows with a Paul Desmond, dry martini sound.

Originals II, a spirited set of jazz sounds, proves itself an outstanding follow-up to Shawn Maxwell’s debut.

Shawn Maxwell at All About Jazz.
Visit Shawn Maxwell on the web.

Shawn Maxwell - Originals II
It takes some confidence and sheer chutzpah to follow up a debut album
of all original music with another, and not resort to riffling through
the ‘Great American Songbook’ for a few covers. That woodwinds player
and bandleader Shawn Maxwell has done this with follow up album,
Originals II, and managed to create a collection of strong jazz tracks
that pulse and blow hard is a wonder. Deftly supported by Matt Nelson -
piano, Graham Czach - bass, Brad Dickert - drums, Aaron Koppel - guitar
and Johann Mahmud - trombone, Maxwell’s alto sax, clarinet and flute
soar over these strong players to create a dozen tracks of robust jazz.
Some of these tracks also have a filmic quality that would suit Martin
Scorcese’s next movie set on the dark and grimy streets of New York, I’m
thinking of Year Three in particular here. So, a very strong follow up
to his debut album, and it reveals a composer using his palette of
sounds to good effect.
For more information about this artist and album and availability visit:
www.shawnmaxwell.com