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Continuance
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Continuance
Current price: $28.99
Barnes and Noble
Continuance
Current price: $28.99
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With 2023's
Continuance
,
Joey Alexander
furthers the sonic experimentation he embraced with 2022's
Origin
. A prodigy discovered at age ten, the Indonesian-born pianist has only grown more impressive as he has matured. Just 20 years old at the time of this album's recording,
Alexander
has developed into a nuanced soloist and composer whose style evokes the blend of his influences, from
Bill Evans
to
Herbie Hancock
and
Chick Corea
. However, rather than simply coming off like a precocious young lion, on
reveals himself to be an assured stylist in his own right. These are harmonically sophisticated recordings, peppered with swinging funk and soul vibes that nicely balance his own improvisatory explorations with empathetic, groove-oriented band interplay. They also find him moving beyond just the piano and weaving Fender Rhodes and even Mellotron into the mix. He's also able to hold his own against slightly older players. Whereas
found him joined by saxophonist
Chris Potter
, here he communes with trumpeter
Theo Croker
whose
Woody Shaw
-esque, funk-jazz-informed style is a perfect foil for
. Joining them are equally adept rhythm section associates in bassist
Kris Funn
(a longtime member of trumpeter
Chief Xian aTunde Adjuah
's band) and drummer
John Davis
(who has played with everyone from
Ben Williams
Marcus Strickland
Leslie Odom, Jr.
). Together, they settle into the opening "Blue," a kinetic number driven by
Davis
Funn
's propulsive rat-a-tat rhythm over which
Croker
take spiraling, bluesy solos. Equally engaging is "Hear Me Now," in which
contrasts a classical-influenced piano introduction with spacey Mellotron accents before
adds his own moody textures. We also get "Zealousy," with its sun-dappled Fender Rhodes atmosphere bringing to mind
Head Hunters
-era
. There's a stylistically open-minded quality to much of the album, and
's songs have a nice balance of acoustic modal jazz, '70s fusion, and the more hip-hop-informed aspects you find with many of his contemporaries like
. It's a genre-open aesthetic that he seems to underline with his choice of covers, including a soulful trio reading of
Bonnie Raitt
's "I Can't Make You Love Me" and a gospel-inflected rendition of the hymn "Great Is Thy Faithfulness." ~ Matt Collar
Continuance
,
Joey Alexander
furthers the sonic experimentation he embraced with 2022's
Origin
. A prodigy discovered at age ten, the Indonesian-born pianist has only grown more impressive as he has matured. Just 20 years old at the time of this album's recording,
Alexander
has developed into a nuanced soloist and composer whose style evokes the blend of his influences, from
Bill Evans
to
Herbie Hancock
and
Chick Corea
. However, rather than simply coming off like a precocious young lion, on
reveals himself to be an assured stylist in his own right. These are harmonically sophisticated recordings, peppered with swinging funk and soul vibes that nicely balance his own improvisatory explorations with empathetic, groove-oriented band interplay. They also find him moving beyond just the piano and weaving Fender Rhodes and even Mellotron into the mix. He's also able to hold his own against slightly older players. Whereas
found him joined by saxophonist
Chris Potter
, here he communes with trumpeter
Theo Croker
whose
Woody Shaw
-esque, funk-jazz-informed style is a perfect foil for
. Joining them are equally adept rhythm section associates in bassist
Kris Funn
(a longtime member of trumpeter
Chief Xian aTunde Adjuah
's band) and drummer
John Davis
(who has played with everyone from
Ben Williams
Marcus Strickland
Leslie Odom, Jr.
). Together, they settle into the opening "Blue," a kinetic number driven by
Davis
Funn
's propulsive rat-a-tat rhythm over which
Croker
take spiraling, bluesy solos. Equally engaging is "Hear Me Now," in which
contrasts a classical-influenced piano introduction with spacey Mellotron accents before
adds his own moody textures. We also get "Zealousy," with its sun-dappled Fender Rhodes atmosphere bringing to mind
Head Hunters
-era
. There's a stylistically open-minded quality to much of the album, and
's songs have a nice balance of acoustic modal jazz, '70s fusion, and the more hip-hop-informed aspects you find with many of his contemporaries like
. It's a genre-open aesthetic that he seems to underline with his choice of covers, including a soulful trio reading of
Bonnie Raitt
's "I Can't Make You Love Me" and a gospel-inflected rendition of the hymn "Great Is Thy Faithfulness." ~ Matt Collar
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