Turning Point

Album review

The second CD from BMR4 shows them to be a contemporary jazz ensemble influenced by their previous role models in a way that is clearly evident. Being from Chicago, they've listened to their share of blues, and soul-jazz à la Ramsey Lewis. Modern New Orleans and New York City neo-boppers they enjoy also enter the mix. Guitarist Neal Alger is the most prominent and individual voice in the quartet, while the overall sound of the group is that of a hip mainstream combo that is mindful of the younger set, but not on an overtly jam band level. Of the standards covered, the band melds a soul-jazz hippy-hippy shake into Fats Waller's "Jitterbug Waltz," and blends Crescent City strut into the folds of Horace Silver's "The Preacher." Saxophonist Jay Moynihan is into Sonny Rollins and Cannonball Adderley, and those individualists are clearly woven into the fabric of the straight-ahead, no frills "Wrong Way," or a slow Chi-town styled "Blues at Clark & Addison." A slinky tango, "La Rosita," sounds quite similar to the standard "No Moon at All," while "No Means No" swings typically from neo-bop to Latin. There's a take of the James Brown dance number "Ain't It Funky," and a throwaway wah wah boogaloo version of Black Sabbath's "Iron Man" in an attempt to one-up the Bad Plus, falling very short. This is not bad for a sophomore effort, but the repertoire has to be ramped up for BMR4 to make an impact nationally or worldwide.

© Michael G. Nastos /TiVo