This is a very fine album indeed – combining superb musicianship with excellent arrangements and a collection of memorable tunes.
Leopard 31453
Simon Oslender (piano, Fender Rhodes, organ, synthesisers, percussion); Steve Gadd (drums); Will Lee (bass); Bruno Müler (guitar); Jakob Manz (alto sax); Nils Landgren (trombone)
Recorded 24-25 November 2023 Hanhaus Studios, Bonn, Germany
If musical talent is measured by the company you keep, then twenty-six year-old Simon Oslender’s is off the scale. This is the keyboardist’s third album as leader, and for it, he has formed a trio with two musicians who have been at the top of their game for decades: drummer Steve Gadd and bassist Will Lee. It’s probably easier to list the artists this duo has not played with over the years.
Oslender has played with Gadd and Lee before. With the former on the 2022 album Center Stage (which also included Eddie Gomez, Ronnie Cuber and the WDR Big Band), while Lee played on Oslender’s last album, Peace of Mind. If Oslender was overawed by the experience, it doesn’t show in his playing, and the CD booklet includes photos from the sessions, which show the three musicians looking very relaxed and happy in each other’s company.
If you look at the front cover of All That Matters, Oslender, Gadd and Lee’s names loom large, but you’ll also find three more musician’s names, albeit with a smaller typeface. This is not to diminish the contribution these musicians make to the overall sound. German guitarist Bruno Müller has played with Joe Sample, Randy Brecker, Wolfgang Haffner and the jazz-fusion band Mezzoforte. On this album, he plays on four of the ten tracks. Jakob Manz is only twenty-three, but the German alto saxophonist is already making waves on the jazz scene, playing with Randy Brecker and the WDR Big Band. He’s on three tunes. Swedish trombonist Nils Landgren has worked with The Crusaders, Herbie Hancock and Eddie Harris. He appears on one track.
Oslender has composed and arranged all the music, and co-produced the album with Joachim Becker. Oslender’s musical influences include jazz, gospel, funk and blues, and this is reflected in the music. ‘In Good Hands’ is a sumptuous mix of jazz, funk and R&B – think James Brown meets the 60s Stax Sound meets Jack McDuff (the energy and feel brings to mind Brown’s ‘I Feel Good’). James Brown-style funky guitar riffs mingle with fat, greasy organ chords and a slick syncopated drum pattern, over which organ and alto sax roar. Oslender solos with speed and fluency on organ, and Manz’s preacher man alto solo is straight from the pulpit. Oslender calls the Gadd/Lee combination the ‘Groove Team’ and they certainly show it on this opening number.
‘Quite Logical’ is the first of several true trio performances and is an organ-dominated number which showcases the brilliance of Gadd’s drumming, with its jaw-dropping mix of accents, strokes and fills. ‘On A Roll’ is driven by a classic Gadd shuffle, Lee’s walking bass line and a swinging beat. ‘True Brothers’ is a mournful ballad dedicated to Randy and Michael Brecker (who died in 2007). Gadd uses brushes and Oslender plays the organ, delivering a soulful solo. The wailing sound of Manz’s alto adds a poignant feeling to the sound. It’s a touching piece.
‘Say It Again’ is a lively piece with Müller laying down a rapid chuka-chuka rhythm guitar riff and Gadd providing a rock-solid groove. ‘Donkey’ also features Müller, although this time he plays like an old blues guitar master. Lee plays a slow blues bass riff, which Gadd complements with slow, steady beats. Oslender’s organ is the dominant keyboard, playing deep, heavy grooves. Müller plays a long, bluesy, deftly deploying a wah-wah pedal. You can imagine relaxing on a porch in the Deep South, as the sun begins to go down.
‘Cruisin’ is aptly titled as the fast, driving beat gives this music plenty of forward motion. Lee also takes solo slot on this number. It’s the last piece to feature Manz’s alto, who goes out all guns blazing with a furious solo. ‘Close Call’ is another trio performance, which is dedicated to Chick Corea. Oslender plays piano and synthesiser on one of the album’s best numbers. There’s plenty of swing and zing on show here, and Oslender’s extended piano solo is a fitting tribute to the sadly departed master. The fills Gadd plays at the song’s coda make you wonder how many arms this drummer has.
‘Leaving Paradise’ is a touching ballad, with Oslender playing the song’s melancholic theme on electric piano and a mournful solo on synthesiser. Nils Landgren plays a haunting solo on trombone. The closing title track is another straight trio line-up dedicated to the late keyboardist Richard Tee, a long-time associate of Gadd’s. It has a deceptive intro, beginning with a slow, gospel organ intro, before Gadd’s trademark shuffle takes off, accompanied by plenty of funky riffing on piano and organ. You can imagine everyone played this with a smile on their face.
This is the third Simon Oslender album I’ve reviewed in a row, and there’s no question that growing confidence, maturity and experience have made their mark on his playing, arranging and composing. This is a very fine album indeed – combining superb musicianship with excellent arrangements and a collection of memorable tunes. The trio are planning to tour at the end of the year. If you get the chance to see them, don’t miss out.
