John Dedrick is getting around in the Washington, DC, Philadelphia, and New Jersey Jazz scenes. With the release of his latest album, Findings, Dedrick showcases his own compositions with a trio that belongs together.
With Dedrick on bass are composer and keyboardist Tom Reyes, and drummer Chuck Ferrell. But it is Dedrick who composes all the songs on Findings, with co-writing credit to Tom Reyes on one of the tracks. The compositions carry whiffs of Chick Corea, Thelonious Monk, and even Bill Evans. And the trio makes it all come to life. Dedrick, Reyes, and Ferrell are excellent together.
The album’s title, Findings, is a testament to the unfolding nature of the music, a discovering of the music while it is being played. That is an excellent approach and it pays off well. Dedrick says it this way: “I wanted the project to be free from traditional musical guidelines. Musicians simply stated their musical thoughts as they pleased. My intent was to open up space for all three musicians to collaborate, interact, communicate, and serve the music.”
As guitarist and educator extraordinaire Jay “Bird” Koder always instructs, “Make space in your playing. Think about what you want to play…then don’t.” That dictum is obviously well-followed by this trio. It was helped by the trio all recording in one room, allowing for that special telepathy found among the great trios of modern Jazz. It also resulted in mostly first takes being used on the recording.
The album opens with Kelly. The lyrical piano of Reyes introduces the tune with the brushes of Ferrell and the bass of Dedrick joining in. It is a rather languid affair that paints a lovely picture. Only to be followed by the melancholic Lugubrious, as sad as the title would indicate. Dedrick drifts into a gorgeous bass passage that is both sad and reflective. A marvelous piece.
Then Spontaneous Blues takes a more upbeat and bluesy turn with some of the coolest chords that Reyes’ piano can muster. In fact, Reyes co-wrote the song with Dedrick. And the description of spontaneous is right on the money. Some of the breakaway passages from drums and bass are mesmerizing and lovely. I wish I had been in the studio with them. And Tension only doubles down on that feeling. It slows down into a determined, even strident, interaction that is rife with creative tension that is honed by the bass and drums. The piano brings the light and life into the matter and is spectacular against the percussion. The bass lead is excellent towards the close of the song.
Bullfrog Burp is a light-hearted romp with the trio keeping it upbeat and easy. Piano, bass, and drums get in some excellent solo licks with a whole lotta trading going on. The melodic line is memorable and catchy. The following tune, Demon, is a threatening tune with its diversionary approach to the melody and the rhythm. The chords and time changes are, indeed, haunting…but in a good way. Even with its diabolical name, it is a charming and fascinating piece of music.
The album concludes with Rough Waters. The final track opens with a bouncing bass line and is followed by a terrific hook. The interjection of the drums at just the right spots are brilliant. All three artists just nail each and every passage and they do it with precision and aplomb. This is an excellent conclusion to an excellent album.
Jim Dedrick’s Findings is a wonderful addition to that amazing canon of Jazz’ trio format. The original compositions are excellent and the improvisations and contributions of each member of the trio is memorable and remarkable. May we have many, many more such musical expeditions from these three artists.
~Travis Rogers, Jr. is The Jazz Owl
With Dedrick on bass are composer and keyboardist Tom Reyes, and drummer Chuck Ferrell. But it is Dedrick who composes all the songs on Findings, with co-writing credit to Tom Reyes on one of the tracks. The compositions carry whiffs of Chick Corea, Thelonious Monk, and even Bill Evans. And the trio makes it all come to life. Dedrick, Reyes, and Ferrell are excellent together.
The album’s title, Findings, is a testament to the unfolding nature of the music, a discovering of the music while it is being played. That is an excellent approach and it pays off well. Dedrick says it this way: “I wanted the project to be free from traditional musical guidelines. Musicians simply stated their musical thoughts as they pleased. My intent was to open up space for all three musicians to collaborate, interact, communicate, and serve the music.”
As guitarist and educator extraordinaire Jay “Bird” Koder always instructs, “Make space in your playing. Think about what you want to play…then don’t.” That dictum is obviously well-followed by this trio. It was helped by the trio all recording in one room, allowing for that special telepathy found among the great trios of modern Jazz. It also resulted in mostly first takes being used on the recording.
The album opens with Kelly. The lyrical piano of Reyes introduces the tune with the brushes of Ferrell and the bass of Dedrick joining in. It is a rather languid affair that paints a lovely picture. Only to be followed by the melancholic Lugubrious, as sad as the title would indicate. Dedrick drifts into a gorgeous bass passage that is both sad and reflective. A marvelous piece.
Then Spontaneous Blues takes a more upbeat and bluesy turn with some of the coolest chords that Reyes’ piano can muster. In fact, Reyes co-wrote the song with Dedrick. And the description of spontaneous is right on the money. Some of the breakaway passages from drums and bass are mesmerizing and lovely. I wish I had been in the studio with them. And Tension only doubles down on that feeling. It slows down into a determined, even strident, interaction that is rife with creative tension that is honed by the bass and drums. The piano brings the light and life into the matter and is spectacular against the percussion. The bass lead is excellent towards the close of the song.
Bullfrog Burp is a light-hearted romp with the trio keeping it upbeat and easy. Piano, bass, and drums get in some excellent solo licks with a whole lotta trading going on. The melodic line is memorable and catchy. The following tune, Demon, is a threatening tune with its diversionary approach to the melody and the rhythm. The chords and time changes are, indeed, haunting…but in a good way. Even with its diabolical name, it is a charming and fascinating piece of music.
The album concludes with Rough Waters. The final track opens with a bouncing bass line and is followed by a terrific hook. The interjection of the drums at just the right spots are brilliant. All three artists just nail each and every passage and they do it with precision and aplomb. This is an excellent conclusion to an excellent album.
Jim Dedrick’s Findings is a wonderful addition to that amazing canon of Jazz’ trio format. The original compositions are excellent and the improvisations and contributions of each member of the trio is memorable and remarkable. May we have many, many more such musical expeditions from these three artists.
~Travis Rogers, Jr. is The Jazz Owl
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