New Jazz Release: Joe Blessett | Chillin out in Dark Places (Avail Now)

In explanation of the visual inspiration for
his sonic adventures, Blessett told AllAboutJazz.com, “Best way to put
it is that I translate what I see into a musical composition. Imagine
hovering above a freeway with a night sky as the canvas. Watch the
automobiles traveling at different speeds heading two different
directions, moving along separately but in unison; getting on and off as
needed, creating a fluid motion.” The thirteen tracks that comprise Chillin out in Dark Places
do indeed move fluidly, unconstrained by the restrictive demands of
typical song form. Describing his music as “embodying a nice groove with
a little edge,” the songs come together to paint a telling portrait of
an artist creating from his own personal perspective.

Blessett
declares that the opening title track “Chillin out in Dark Places” may
seem “a little out of place,” but Blessett explains its genesis and its
place within the context of the disc. Written for his favorite female
comedian, Margaret Cho, with whom he was photographed at the 2011 Grammy
Awards, he says that what he heard was “dark places” – an astute
appraisal of the humorist’s biting satire. The lyrical eastern tinged
alto saxophone, in conjunction with a ringing open belled trumpet,
contrasts effectively with the contemporary keyboard/guitar cushion over
which it is played, creating a sense of dramatic tension and release as
the moods shift seamlessly, much like Cho’s mischievous monologues.

“Tell
Me Something” is a modern love song, a passionately played saxophone
melodically dialoguing with a virile male vocal that pleads, “Baby tell
me something” and declares “I do love my baby,” while in the background
ethereal swirling keyboards transition to a soulful earthy organ,
offering a resolving narrative quality to the track.

The
churchlike organ that is at the fore of “Help Me Pray” is most
appropriate to the song’s message clearly stated in its title.
Blessett’s lyrical synthesizer voice, gives the piece a peaceful hymnal
quality that fades easily into the heavens.

“Better Days” opens
with atmospheric keyboards laying down a groove with sampled drum
rhythms over which Blessett’s soulful saxophone soars with a bluesy zeal
in a call and response pattern with the various other instruments, with
everything coming together for a truly appealing conclusion.

The
down and dirty mood of “Slayers and Players” is set by a curious
repeated guitar/keyboard figure – alternately alluring and portentous —
with Blessett’s gritty sax calling out with a potent urban sound. Here
the composer’s uncanny ability to create sound from sight is at the
fore, as he conjures the image of street corner society with all its
danger and excitement.

“What’s Your Secret” is a sexually charged
anthem – a softly inviting ambient environment with the sensually
sighing voice of a female steadily moving to the rhythms of the music,
eventually crying out in ecstasy and before settling back into restful
repose.

Miles meets minimalism on “Deep Dish Grind” with an
insistently repetitive machine-like melodic line reminiscent of the
former’s “Jean Pierre” setting the tone that organically develops into a
funky dance groove, with a barrel house trad piano coming to the fore
only to be replaced by a futuristic keyboard that takes things out into
space.

Full bodied brass opens “Morning After” – one of the
date’s jazziest tracks – with a steady sizzling sock cymbal beat setting
a groove with a synthesized female vocal choir – reminiscent of Earth,
Wind and Fire — counting of the time in unison. Trumpet and trombone
sounds converse with the voices as the piece slowly builds in dynamic
intensity to a rewarding resolution.

“Taking Pause” blends
Blessett’s soulful sax with his signature synthesizer sound, the two
slowly grooving together in a sensuous dance, with various voices and
other instruments joining in the festivities.

The influence of
Miles Davis can be heard again on “Friends, Wine & Good Times” with a
trumpet fanfare and swinging tenor introducing an “In A Silent Way”
styled background giving way to a spacey female scat chorus. Blessett’s
grooving guitar is heard to good effect for a chorus prior to the
trumpet/voice coda.

“Scotch & Water Please” is an exciting
soul excursion built upon a hard hitting piano figure, with a voice
crying out “It’s like your money can buy anything” before Blessett
blasts off on tenor, revealing his affection for the sounds of Junior
Walker and the Crusader’s Wilton Felder. Once more the composer displays
his ability to conjure up a cinematic view with distinctive
collage-like style of writing.

Pleasing honky tonk and toy piano
sounds introduce “Dark Places” contrasting with a gritty Weather Report
“Birdland” groove that sets an undertone for the shadowy sounds that
point to the contradictory elements of the night life.

The
closing “Honey Hush Café” is a straight ahead jazz outing that shows the
deepness of Blessett’s roots, revealing his talents as a guitarist,
keyboardist and horn player, a fitting conclusion to a fine creation of
art.

This singular expression of one man’s solitary vision,
Chillin out in Dark Places shows Joe Blessett to be an artist most
capable of expressing to the world the many things he sees while
standing alone in the shadows, quietly observing. And how he hears it
all coming together to be heard by any who dare to listen.