Laid Back (Night Life)

Description

As one reviewer wrote: “When an album titles itself Laid Back, the seasoned listener might naturally brace for an exercise in casual, low-energy complacency. Happily, the opening salvo of trumpeter-composer Rich Willey’s new collection, “Laid Back (Night Life),” quickly dispels any such fears. This first tune on the album is not jazz to sleep by; it is a masterfully sustained, eight-minute-and-fifty-second dissertation on the elusive art of the mid-tempo groove.

Under the astute studio supervision of producer Carey Deadman, the track achieves a flawless equilibrium. Deadman has captured an acoustic environment that feels at once intimately close and remarkably spacious, ensuring that the composition’s sophisticated harmonic undercurrents are never lost to the atmosphere of the room.

Central to the track’s absolute authority is an airtight rhythm section that operates with a unified heartbeat. Guitarist Felton Offard provides a tasteful, blues-inflected placement, while bassist Chuck Webb and drummer Charles Heath lay down a pocket so deep and resilient that the soloists are granted total freedom of movement.

Willey himself is in stellar form. Writing for conventional forms but twisting them with deceptively clever chord progressions, his trumpet work is characterized by a warm, robust center and a mature clarity of line. He structures his solo with the poise of an auteur, refusing to rush his ideas and letting every note carry its full weight.

The performance reaches an exhilarating peak during the hand-offs in the solo order. Keyboardist Paul Mutzabaugh steps to the forefront for an incredible solo on the Hammond B3, coaxing a rich, swirling, and deeply soulful expression from the vintage organ that commands the room and elevates the track’s late-night atmosphere. This blues-drenched manual workout sets the stage perfectly for John Swana, whose subsequent appearance on the Electronic Valve Instrument (EVI) is nothing short of otherworldly. In an era where electronic wind controllers often sound cold, Swana coaxes an astonishingly fluid, ethereal vocalization from the instrument.

The intensity peaks during a standout interlude featuring the explosive drumming of Charles Heath, leading into an epic closing vamp.

This “island jam” features Rich Willey, Geof Bradfield, Steve Duncan, and Mutzabaugh taking turns over the groove, bolstered by Carey Deadman’s brilliant high-trumpet hits.

The juxtaposition of Mutzabaugh’s earthy B3 and Swana’s cascading electronic lines creates a compelling dialogue that perfectly evokes the “Night Life” of the subtitle. Thanks to the impeccable chemistry of the players and Carey Deadman’s sharp production, “Laid Back (Night Life)” sets a remarkably high standard for the rest of the album.

It’s an absolute party on tape—infectious, upbeat, and packed with top-tier jazz improvisation.”