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| 3.285 Ft
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| 1. | The Black & Crazy Blues/A Laugh for Rory (For Joel Dorn)
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| 2. | Country Girl
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| 3. | Julia
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| 4. | Imam
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| 5. | Drethoven
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| 6. | Four in One
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Jazz
Andrew Felluss - Engineer
Brian Haas - Executive Producer, Group Member, Piano
Christian Castagno - Engineer
Chuck Zwicky - Mastering
James A.J. Ward - Artwork, Design
Jared Tyler - Mixing, Producer
"A breadth and vision nearly untouched in modern jazz except by the likes of Wayne Shorter and Bill Frisell." Signal To NoisebrbrJacob Fred Jazz Odyssey, the Tulsa, Oklahoma-based musical institution founded by pianist Brian Haas, celebrates their 15th anniversary in 2009. Having recently expanded their line up from a trio to a quartet by adding fellow Tulsans' Chris Combs on lap steel guitar and Matt Hayes on acoustic bass, JFJO prove to be perpetually evolving and pushing boundaries further with each passing year. In this process, they ve perhaps invented their own sub-genre--Red Dirt Jazz--by tapping into their Oklahoma birthright and drawing upon "The Tulsa Sound" of hometown heroes like JJ Cale, Leon Russell and Bob Wills. These roots grow into a jazz foundation built firmly around the inspiration of giants like Duke Ellington and Thelonious Monk. The results are documented on the superb new EP One Day In Brooklyn, the first release from the reconfigured line-up. Recorded in Williamsburg, Brooklyn as first takes without any overdubs, the six-track collection captures the telepathic improvisations and visceral post jazz energy that has defined JFJO over the years. Highlights include a medley of Rahsaan Roland Kirk s A Laugh For Rory and Black Crazy Blues and renditions of The Beatles Julia, Thelonious Monk s Four In One and Abdullah Ibrahim s Imam, as well as two new original pieces.
Jacob Fred Jazz Odyssey
Active Decades: '90s and '00s
Genre: Jazz
Styles: Jazz-Funk, Jam Bands, Avant-Garde Jazz
When novices discover the experimental music of the Jacob Fred Jazz Odyssey, they are surprised to learn that there is no one named Jacob Fred--the group's name is meant to be clever and ironic. Novices also learn that the Tulsa, OK outfit's mildly avant-garde blend of jazz, rock and funk draws on a wide variety of influences; JFJO has been influenced by everyone from electric Miles Davis and Jimi Hendrix to Sun Ra, John Coltrane, Cecil Taylor, Larry Young and John Scofield. Often quirky, eccentric and abstract, JFJO favors an inside/outside approach but is usually more inside than outside. JFJO isn't atonal free jazz, but at the same time, no one will mistake the Oklahoma residents for retro-boppers who play a lot of Tin Pan Alley standards. JFJO was formed in Tulsa in February 1994, which is when Brian Haas (keyboards, piano) joined forces with Reed Mathis (electric bass). Both Haas and Mathis had been classically trained in their pre-JFJO days; Haas, in fact, had played Beethoven's "Second Piano Concerto" with the Oklahoma Philharmonic when he was only 17. But even though playing with a classical orchestra when he wasn't old enough to vote looked good on a resume, Haas realized that he didn't want to be a full-time classical pianist--he found the European classical tradition to be rigid and yearned to play music that satisfied his need to improvise. So he made jazz his main focus, and after meeting Mathis, Haas learned that the fellow Tulsa resident had similar tastes. Although both wanted a jazz-oriented approach, neither were jazz snobs--both of them also appreciated rock and funk. After forming JFJO, Haas and Mathis became a fixture on the Tulsa scene (where they played mostly instrumental music but sometimes featured rappers). Haas and Mathis have always been the core of the group, although JFJO has had different lineups along the way. Improvisers who were with JFJO in the ‘90s included trumpeter Kyle Wright, trombonist Matt Leland, percussionist Matthew Edwards and drummer Sean Layton, all of whom have since left the group. JFJO's debut album, Live at the Lincoln Continental, came out in 1995 and was followed by Live in Tokyo in 1996. The group's best known and most widely distributed ‘90s release, however, was Welcome Home, a live album that was recorded for Accurate in 1998. That CD was followed by Mama's House and Bloom in 2000 and Self Is Gone in 2001. After that came All Is One: Live in New York City, which was recorded live at New York's Knitting Factory in March 2002 and released by Knitting Factory Records four months later.
---Alex Henderson, All Music Guide |
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