Tenor saxophonist Javon Jackson and cohorts have found plenty of fertile ground in Pleasant Valley. Using Larry Goldings's down-home organ as a backdrop and Dave Stryker's light-fingered guitar as a foil, Jackson has managed to evoke the creative days of early fusion (in particular, the Tony Williams Lifetime) while fitting in perfectly with the lounge-jazz mainstream. Jackson has a dollop of funk in his sophisticated tone, which he adds judiciously, giving a little juice to his complex, serpentine lines. Combine this with the sensitive interaction of the group, the relative rhythmic freedoms of drummer Billy Drummond, and the psychedelic rock-guitar effects, and you have much more than a mere copy of the '50s organ-tenor sound. What you have is a cauldron of creative possibilities welded to an earthy, unhurried feel. And that feeling is, indeed, a pleasant one: a form of relaxed stimulation.
A solid, dependable and mild-mannered saxophonist, Javon Jackson studied at the Berklee College of Music in Boston for several years before joining Art Blakey’s Jazz Messengers. The saxophonist’s niche in today’s jazz world is filled with solid mainstream vibrations and a caressing respect for the instrument. Jackson’s approach is a bit laid-back, his tone is true, and his articulation serves him well. At 33, the saxophonist is in a position to either branch out or to focus more on that aspect of his career which he finds most satisfying.
On Pleasant Valley, the focus is on fitting together some of Jackson’s best-loved symbols of the art. Compositions on the album were written for Freddie Hubbard, Kenny Garrett, Donald Brown, and Jim Hall. "Sun Swept Sunday" is from Duke Ellington’s film score to Anatomy Of A Murder. Two others are pop tunes, while "Hippodelphia" comes from the pen of Joe Zawinul. That Jackson and Garrett are close friends who worked with Blakey together plays into the unique voicing the leader employs on "Brother G." Veering away from the lower tenor sax register that Jackson stays with elsewhere, this tribute aims higher, hanging instead in the middle and upper register neighborhood. Thus, he attains a sound closer to Garrett’s alto saxophone tone. Underlying this tonal ploy is a sense of majesty that Jackson has written into the melody and harmony.
On Pleasant Valley, the focus is on fitting together some of Jackson’s best-loved symbols of the art. Compositions on the album were written for Freddie Hubbard, Kenny Garrett, Donald Brown, and Jim Hall. "Sun Swept Sunday" is from Duke Ellington’s film score to Anatomy Of A Murder. Two others are pop tunes, while "Hippodelphia" comes from the pen of Joe Zawinul. That Jackson and Garrett are close friends who worked with Blakey together plays into the unique voicing the leader employs on "Brother G." Veering away from the lower tenor sax register that Jackson stays with elsewhere, this tribute aims higher, hanging instead in the middle and upper register neighborhood. Thus, he attains a sound closer to Garrett’s alto saxophone tone. Underlying this tonal ploy is a sense of majesty that Jackson has written into the melody and harmony.
With Larry Goldings and Dave Stryker blending timbres, the quartet’s cool, relaxed attitude recalls that of the classic organ combo. Jackson’s latest exemplifies what we sometimes think of as "the Blue Note sound" and sits comfortably "in the pocket."
Tracklist:01 - Sun Swept Sunday
02 - Pleasant Valley
03 - Hippodelphia
04 - Don't You Worry 'Bout a Thing
05 - Jim Jam
06 - In the Pocket
07 - Brother 'G'
08 - Love and Happiness
09 - For One Who Knows
Personnel:
Javon Jackson - Tenor Saxophone
Dave Stryker - Guitar
Larry Goldings- Organ
Billy Drummond - Drums
Pleasant Valley
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