John Stein’s exciting new release is a sprawling two disc set titled Lifeline, a compilation of his many own compositions and arrangements recorded and released over his 30 year career. This double scoop offering of Stein’s electric jazz guitar work turns a reviewer’s rainy day into a brisk adventure. Adventurous, exploring, and innovative, Stein’s Lifeline is the kind of compilation that draw even greater interest in this artist.
Opening track “Up And At ‘Em” is a lively dance between Stein’s nimble melodic guitar and David “Fathead” Newman’s loosey, goosey sax flight. While Stein supports with some rhythm section chords, Newman’s flight of fancy reaches peaks, spiraling up. Eventually, Stein chances to meet him up where eagles dare. Stein matches the sax intervals before playing a line as free as the horn.
“Brazilian Hug” makes the most of an understated Latin rhythm. Bass player Frank Herzberg maintains a persistent nudge as drummer Eduardo Nazario keeps his stick hitting the rim with impeccable timing. Another treat is keyboard player Daniel Grajews’s ivory tinkling, a bright, lively interval of electric piano notes that capture the light playful nature.
“Invitation” lightly presses exotic bass notes from John Lockwood’s upright, a sooth, forlorn run of low end notes that keep one focused on the trance like groove. Stein presses out an intricate patter of mild notes that ride just perfectly on that low end. Percussion from Ze Eduardo Nazario keep a cool pulp beside the low end, a partnership in groove that feels as warm and unobtrusive as a friendly arm around one’s shoulders. The upper registers chime in well too. Stein plays a sublime melody here, as gentle as the groove even as his nimble notes move with a disciplined proficiency. Keyboardist Koichi Sato, meanwhile, layers it all with a light rain of bright, shining notes, fleeting notes that all last as long as needed to keep this piece in a reflective mood.
David “Fathead” Newman takes “Hotcakes” on his own mystery flight with his mellifluous run of consistently bright flute notes. Organist Ken Clark takes his inspiration from that flute, following suit with a swirl of sunny organ chords. Next up, Stein, too, tries his hand at the melodic line, delivering fanciful intervals of notes that jive perfectly with the flute.
“Jo Ann” takes the listener through several pleasant phrasings. Lockwood’s assertive bass backbone gives this a lift off. Stein’s pretty lead guitar melody tops it off well until Fernando Brandao’s flute carries on with a sweeter variation of the main melody. Stein resumes the lead role, picking a fine line that keeps a persistent soulfulness in the vibe of this piece. I had to return to this piece to take greater note of a trumpet line that wafted lightly into the spotlight before quietly wafting away. It is Phil Grenadier cruising through to place more feeling atop this finely woven piece of tender reflection. Grenadier’s line becomes fuller, which hints at even more depth of feeling at the inspiration.
Stein ushers us into “The Roundabout,” painting a vivid picture with sharp, colorful expressions. He moves his notes well through a line that seems to bend with the light, a slight, but persistent bend. Koichi Sato jives things up here with sprawling organ chords that layer something swinging and warm, a wide broth of positive vibe. John Lockwood’s upright bass dances around some, giving a flinty bottom for that persistent guitar and soulful organ to spin off of. It’s a fun time workout.
Stein’s tribute to idol Django Reinhardt finds hims playing his most sublime melody on this two disc set. “Django” gets a weepy vibe from Stein’s soft application of melancholy notes. He’s mourning the loss of this great while also celebrating him as a crucial influence. A gentle line ripples forlornly through and over a laid back groove, like the notes are tiptoeing over gently applications of stick and low end. Musical interplay as well as vibe are perfect.
The more assertive “On Green Dolphin Street” combines plucky bass runs, swift, nimble electric guitar, and brisk percussion work. One can picture a busy scene because Stein’s guitar moves at a strident pace. Its interaction with the peppy rhythm section is speedy too, creating an interaction that’s as busy as a city intersection on game day. The tones Stein maintains here, bright and shiny, implies he is enjoying the fun, upbeat motions of this song and that keeps one as engaged as the musical feat he accomplishes.
“Recoleta” is a light, breezy interplay of Stein’s guitar and Rebecca Kleinman’s flute, the two instruments engaging each other with tender respect for each other’s space. Their mutual ascents are augmented by Evan Harlan’s accordion puffs, updrafts of pleasant melodic fiber. It’s as if the guitar and flute are dancing and preening for each other’s amusement and the accordion is playing Cupid, giving them a push toward greater mutual admiration. There is vibe here part Latin, part gypsy that keeps this piece beautifully free of gravity. Its loose freedom makes it feel like it’s floating in it’s very own time and space, another accomplishment in this piece.
“Funkin; It Up” is just what the title describes. Hip motions of piano chords and thick groove give Stein a trampoline to bounce his guitar line off of. Stein’s move into this mode makes him a prime motivator for his fellows. Piano and organ soon follow suit, joining in a cocktail bar atmosphere, a place where people mingle, and where the mingling could lead to big business plans or wildly amorous adventure. Low end nudges from the upright usher in a jive guitar line, a line that moves with as much attitude as skill. Stein shows his flair for the hipper influences in jazz, mostly from the 1950s when it played out in coffee shops patronized by the Beat Generation.
Vocalist Ron Gil graces “Weaver Of Dreams” with his smooth low tenor. He hits his lines with just the right touch, a finesse that beautifully follows Stein’s tender, light touch on the guitar, notes that take their time expressing their joy.
“Modinha” is a delicate piece, a dance between Stein’s flinty guitar lines and upright player Dave Zinno’s quiet but thick low end notes. There is as much communication in the spaces and pause here as there is in their playing. It’s like a whispered conversation between two respectful conversationalists, each with plenty to say but giving each other the space to articulate each’s ideas. Hearing Stein’s rain drop guitar notes with Zinno’s pulpier line is a treat for the ears. It’s also engaging to follow along to hear what each can do with their instruments.
Disc one’s close out track “You’d Be So Nice To Come Home To” by Cole Porter runs on a jittery energy. Stein’s guitar alights with sweet, speedy notes. John Lockwood’s nimble, fleet low end nudges, Jake Sherman’s swift, elegant piano tinkling, and Ze Eduardo Nazario’s fancy stick work. Whether in ensemble or during solo spots, all of the notes darting around in this piece delight with their brightness while holding the listener’s attention with their rapid intervals and surefooted placement.
Disc two opens with the uptempo sophistication of “Nica’s Dream,” lively, spirited affair, with Stein’s myriad of notes darting out of a myriad of intervals. Alongside his speedy delivery, his rhythm section slaps out plenty of uptempo piano panache, rippling bass notes, and swift, intricate stick work. The large motion and moving parts of this piece keep the listener feeling as upbeat and peppy as this music.
The romantic setting of “Moonlight In Vermont” finds Stein, pianist Larry Goldings, bassist Keala Kaumeheiwa, and drummer Greg Conroy creating a festive mood within self-restrained deliveries. By playing it light, easy, and down tempo, the players develop a lot of emotion that feels like slow dancing with a beloved partner.
“Four Corners” shows sly interaction between Stein’s guitar, Fernando Brandao’ flute, and Phil Grenadier’s trumpet. Each’s turn on the melodic line shows a difference in the width of that line. They come together like sweet, juicy fruit when playing in unison, a sense of the whole being even better than it’s tasty parts.
“Elvin” bops along to a pushy rhythm section, John Lockwood bass nudges that carry it well. Stick work from Mr. Nazario puts even more muscle beneath the upper registers. Stein’s jittery lead guitar line moves beautifully, smoothly over that pulpy groove. The guitar notes being picked here are bright and snappy enough to make one picture a bouncing spring that can’t be pushed down for too long. This guitar melody practically jumps out of the stereo speakers with their irrepressible energies. Pianist Koichi Sato injects a long roll of brief, shiny notes offering a fine variation on Stein’s main theme. Hearing another line of snappy notes over that hard hitting groove makes for another tight arrangement on this compilation.
Ken Clark’s B3 Hammond organ graces “Green Street” with it large, encompassing swath of soul. Soothing and stirring, those organ notes and chords carry this piece forward with its large presence. Dave Newman’s bassy flute serves up a line of hipness that conjures a lively bar scene as the rhythm section swing it around with a matching cool.
A John Stein, Ron Gill duo turn “Love Dance” into a smooth, rolling evocation of our greatest human emotion. Here, Gill uses personification to give a love a presence with a personal motivation. His easy going delivery over Stein’s tender melody line give this piece an exceptionally wide feel for just two instruments.
An eastern European gypsy flavor permeates “Ira’s Tango.” Evan Harlan’s mysterious accordion melody and Rebecca Kleinman’s flute weave a luscious texture. It seems to travel like a magic cloud, soft, delicate, always moving as if on a breeze. Stein’s sharply accented electric guitar makes a fine counter point with the floating upper register instruments. This one is all about the vibe, the feel, and the setting, three areas well handled here.
“The Night Has A Thousand Eyes” might sound familiar to film buffs. Featured in a movie of the same title, Stein puts his own twist on it. Down tempo, this version lets a sweet, thin melodic guitar phrase hint at scenes of romance. A slow dance groove from the rhythm section makes one feel the romance. Pianist Alexandre Zamith, bass man Frank Herzberg, drummer Ze Eduardo Nazario and percussionist Pedtro Ito keep a lot of small moving parts in motion. It feels like many listening tingle sensations at once.
“I Remember You” finds Stein combining strings of snappy notes with sudden chords work. In contrast to his rippling lead guitar moves, is David Zinno’s masterful strokes, touches as light and speedy as Stein’s sudden swings through each of his interval of notes. Listening to the two thrust and parry makes for a lively experience.
Stein presses out some sweet, flinty notes through “Labor Of Love.” His variety of high notes, displayed in a variety of intervals, takes one away on a flight of the imagination as his melodic line continuously reaches new heights.
Decades old pop staple “A Taste Of Honey” rumbles forward with muscular strength from upright bass player Herzberg plump low end notes. One can almost see his fingers pressing out that thick elastic groove. Daniel Grajew’s drizzle of electric piano notes sprinkle a little more honey over this banana split. Stein’s whistle prettily in the backdrop, another sprinkling of notes that make this whole thing a sweet, tasty confection.
“Sugar” comes close to funk. Upright bass player John Lockwood maintains a low end pulsation throughout. Drummer Ze Eduardo Nazario keeps a run of hip fills running, and organist Jake Sherman layers the soulful gravy of notes over the meat and potatoes of the groove and beat. Stein uses this soft, funky platform to contrast his sharp, jumpy electric guitar work. His jazz style becomes a perfect counter to what is going on with the groove, like he’s taking a pleasant stroll through their garden of funk.
Close out track “Le Causse du Quercy” breezes by with a persistent wind all its own. Stein’s fluttering electric line wafts in sweet intervals just above a traveling groove. Matias Mingote German’s drums keep a swift pace with their pulpy appeal. Evan Harlan’s twisty accordion line works its way assertively around the groove and keeps the ear glued to its adept movements. Likewise, Rebecca Kleinman’s mellifluous flute line makes its own spirited turn around the rhythm section to sweeten already steady melody.
Lifeline perfectly documents and landmarks some of the many highlights of John Stein’s marvelous career as a musician, composer, and arranger. His original compositions as well as his arrangement of standards engage the ears, mind, heart, and soul of the listener for the duration of the two. This Boston-based musician will likely gain more fans and recognition with the distribution of this collection. Every serous listener, across multiple genres, will backtrack to the multitude of albums this collection was drawn from. Released on Whaling City Sound in New Bedford, Massachusetts.
