Acme Jazz Garage presents brilliant new album Sunday at the Palladium • MUSICFESTNEWS

Acme Jazz Garage presents brilliant new album Sunday at the Palladium

A lot has happened since March 2020. It was certainly true for Acme Jazz Garage, the Tampa Jazz Quartet. Before the start of the pandemic, Acme Jazz Garage released a spectacular video to accompany a new song, “Rumba Misterioso”. Then the live music scene collapsed under the weight of COVID-19. The band’s long-standing concert at Timpano is closed, as well as the restaurant. And keyboard master Bryan lewis moved to New York.

Fortunately, the band had several other songs ready for release. “Sharkskin” was released in April 2020, then “Phil’s Blues” in June. And there was a lot of activity that we didn’t hear about until the band announced their album release. Shark skin, which was released in August.

This afternoon at 4 p.m., Acme Jazz Garage will finally have the opportunity to play the music of Shark skin in front of a live audience at The Palladium in St. Petersburg. The core of the group – Lewis, Philippe booth, and Matt swenson – will be increased Jody Marsh, the new keyboardist of the group, saxophonist Rick Reunion, and drummer Dave rudolph, plus special guest Shelby sol singing. The plan is to play the album during the first set, then other songs during the second.

With that in mind, let’s dive into Shark skin, released on Solar grooves. The album was recorded, mixed and mastered by Jean Stephan to the history Spring Theater in Sulfur Springs, Tampa.

Staff for the album: Matt swenson, guitar; Bryan lewis, Steinway grand piano, Hammond B3 organ, synthesizer; Philippe booth, double bass, Fender Precision fretless bass guitar, French horn; Pat Close, drums; Dave Reinhardt, drums; Michael washington, congas, percussions; Jeremy powell, tenor saxophone; Shelby sol, voice; Peggy Morris, flute; Christian Taylor Ryan, alto saxophone, baritone saxophone; Rick Reunion, tenor saxophone; Jen Peacock Ryan, trumpet; Alex Belliveau, trombone.

SHARK SKIN

Lewis opens “Sharkskin Suit” [Booth, Lewis, Swenson] (7:25) on Steinway. Since the time of its original release, several layers have been added to the track, almost perfect to start with. Swenson’s plaintive guitar keeps the song moving, with Booth on the fretless bass. He also adds the French horn and the instrument that he has dusted off since closing, with great effect. You can also hear Lewis’ synths weaving together. Washington and Close make a great rhythm team. Lewis’s piano solo is simply stunning.

“Watch the river flow” [Bob Dylan] (6:21) is a blues rocker with the vocal styles of Shelby Sol. Booth’s double bass sounds so full, so hot in here. Lewis is on B3, air powered by Reinhardt from the battery. Lewis and Swenson both swing on this one.

“Rumba Misterioso” [Booth] (7:37) We’re going to cheat here, because we can’t improve on what we said the first time around:

It’s a wonderful blend of traditional and modern Latin jazz, connecting the dots of Tito Puente and Eddie Palmieri to Maqueque and Miguel Zenon. Close and Washington enter first, followed by Booth and Lewis. Swenson and Lewis ‘solos and Lewis’ flourishes all depend on the thrilling rhythm created by Close, Washington and Booth, which establishes a dynamic platform on which to build the song.

The song moves at a reserved, supple, undulating tempo – it’s downright sexy. This rumba must be on the dance floor, the bodies intertwined.

The syncopated chorus speeds up the tempo with its infectious groove. Morris often doubles the melodies, and she first presents Swenson’s solo, perfect in this setting, reminiscent of John Tropea and Santana in these deep grooves. Swenson takes the song at the head, and Morris then leads on to Lewis’ magnificent piano solo. Finally, they return to the main theme and remove it with another big, bouncy chorus.

It is a complete team effort; the rhythmic work is just as critical as the solos here. Frankly, we can’t wait to hear what else Acme Jazz Garage has in store for us. They have certainly whetted our appetites!

And we were right!

The “Rumba Jam” (1:45) was used during the credits of the superb video which accompanied “Rumba Misterioso”, Close and Washington up close and in a personal way.

“Springs Piano Interlude No. 1” (2:16) is the first of three improvisations by Lewis, a true keyboard magician. The Steinway at the Springs Theater is magical, and after Lewis sat down for a break from the action to perform, it was so impressive that they captured several more.

“Phil’s blues” [Booth] (6:15) was already a catchy number on the initial recording, but here Booth and arranger Sam Fagaly upped the bet considerably with the addition of the brass section of Belliveau, Run-on and Mr. & Mrs. Ryan. Swenson recalls the greats of jazz with his solo, then Booth takes out his double bass for a turn. Lewis follows suit on B3, and the horns are spot on.

Lewis managed the arrangement on “When October Goes” [Barry Manilow] (4:50), such a beautiful ballad. Reinhardt’s soft touch on the brushes provides the perfect accompaniment, as well as a tender solo from Swenson and Booth on bass and French horn. Lewis also plays B3, then Swenson digs into a deeply soulful groove.

“Springs Piano Interlude No. 2” (2:50) More Lewis Magic

They take “Nature Boy” [Eden Ahbez] (7:41) at a steady pace, with Reinhardt and Washington bringing the track to life. Christian Ryan’s baritone is heard in the first stanza before a tenor solo from Jeremy Powell, who played an important role on the Tampa stage before traveling to New York City, where he recorded his solo from a distance. Lewis dances again on the Hammond B3. Booth’s outing here is sublime before they come back to the head. Reinhardt helps close the track with a nice drum function before a quick coda from Powell.

“Springs Piano Interlude No. 3” (3:25)

“Mercy, Mercy, Mercy” [Joe Zawinul] (6:22) is steeped in gospel, just like the recording of the band “America the Beautiful”. Lewis is responsible for the re-harmonization here, with Swenson switching over to Lewis’s B3 job. Lewis’s solo is playful, dancing around the melody.

“Sharkskin Costume (Radio Edition)” [Booth, Lewis, Swenson] (6:03) was offered to radio stations who might want a shorter version of the original song; he clips the magnificent piano at the start. Jazz stations in the Tampa area will always play the full version.