Jeremy Steinkoler CD Review: The Road Home (Genre: Jazz)
The Drummer’s role as a band leader is not a new concept. For example, Buddy Rich was the leader of his Jazz Big Band for several decades. The Late Tony Williams (who played with Miles Davis) formed and lead an instrumental Fusion group circa 1970-1990. Other drummers have also proven to be both effective leaders and musical contributors, such as Bill Bruford (formerly of YES), Dave Weckl (formerly of Chick Corea’s Elektric Band), Bill Stewart, and countless others. What do these great drummers have in common? Undeniably, there is a strong connection to melody and harmony, rather than concentrating solely on rhythm. It is important to mention that a drummer’s primary role is to adhere to strict rhythm and punctuate figures with the band. Moreover, the drummer’s role also assumes even more responsibilities. Instead of just “playing a beat,”the drummer is actively engaged in both composing and leading the band. Jeremy Steinkoler effectively assumes these roles, as depicted in his 2001 release, The Road Home.
The opening track unfolds nicely with a hypnotic 6/8 bass ostinato. Enter the drums, sax and complementary guitar. What a great way to begin this wonderful recording.
The second track “Chill” appears to be a funky tune with through-composed sections. Steinkoler’s groovy 16th note textural groove provides the appropriate elasticity and rhythmic framework for the entire tune–Nicely done!
The third track “Home” depicts both a somber and nostalgic 3/4 journey. Wonderful sax playing and beautiful guitar work are major highlights of this tune. Steinkoler uses cymbal texture and takes a back seat to allow the melodic instruments to “do that thing they do.” This mellow feel is similar to track five. Moreover, tasteful brushwork creates an ethereal texture, which bodes well for the first half of the tune. The next section in track 5, however, busts into a quasi Conga-oriented feel around the 2:30 mark. Both tension and dynamics gradually crescendo to create surrealism.
The fourth track “Fi’Deen” is perhaps, one of the most interesting works on the CD. The title suggests something enigmatic: A journey, a place, a noun, or just “something.” It begins with a brief Blues-oriented funeral dirge ala New Orleans, and then busts out into a groovy porno soundtrack, as depicted by the funky bass, slinky drum groove, and psychedelic “WahWah” guitar. In fact, several picturesque moods are also developed in the later sections: A spacious and ethereal 3/4 vibe, a 3-2 Son-Clave/Bo Diddley Beat, and a New Orleans Street beat Parody redolent of “When the Saints go Marching in.” Just let these guys go where no man has gone before!
Steinkoler’s group continues to impress us with their constant variety of material, which is also evident in track 6: An upbeat AABA 32 bar tune. The overarching guitar playing reminds me of John Abercrombie meets Peter Bernstein. If you really like these players, then you will certainly dig Foster’s tasty guitar work on this CD. The remainder of the song pays homage to traditional AABA tunes by trading fours and eventually returning to the head.
Is track seven a groovy pop tune version of “Sunny Came Home?” Why certainly! Arguably, many musicians believe that a great song can be played in several different styles. In this case, I tend to agree. This instrumental version is a wonderful compliment to the pop tune prototype. This version, however, tightens the reigns on the tempo so that an airy textural blend of all instruments can stretch the song into much further greatness, eloquence, and poignancy. In contrast, the obtrusive vocals in the pop version overshadow the instrumentalists. Yet, the song contains greatness in either format.
“Soul mates” is a great name for this hypnotic, tribal dance tune (track 8). Steinkoler’s use of cymbals and snare drum (as tom tom) are incredibly clever. He also experiments with sporadic phrasing, which is influenced by the strong rhythmic guitar part. The rhythm naturally ventures into a Quasi-Rumba feel to create both a natural dance mood and a merger of souls.
The sax player really deserves the credit on track 9. Steinkoler takes a back seat on this one to play a loose but solid 4/4 spacious groove. This drummer has both the ears and the brains to let the music do the talking rather than being a narcissistic drummer. Thanks for not “tooting your own horn!”
The CD’s versatility continues with the very up-tempo tenth track in 3/4 time. Steinkoler’s drumming is mind-blowing; it shows us that he has both great chops and an incredible sense of musicianship, respectively.
The final track on the album is entitled, “with you.” It begins in a mellow fashion and jumps into high gear unexpectedly. Hey, let’s make it funky; James Brown would be proud! However, the Funk cannot last forever and the song gradually fades away into the distance. Steinkoler chose to end the album with this nostalgic work, rather than placing track 10 (the burning 3/4 track) in the 11-spot. Yet, I do not have any regrets opening my ears to this masterpiece. Just let the music take you away just like Calgon Bubble Bath, and “you too can escape into greatness. . .”
Review written by Evan M. Jacobson, August 12, 2002 and published in JazzSteps Magazine.
No part of this work is to be printed without permission by Evan M. Jacobson, 2002
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