Mr. Chair: Better Days

In the perpetually evolving landscape of fusion music, Madison, Wisconsin's own Mr. Chair introduces another compelling chapter with their latest album Better Days. A quintet with a diverse sound palette, Mr. Chair's idiosyncratic mix of jazz, classical and prog-rock opens up endless possibilities for musical genre blending.

Before we dive into the heart of this auditory journey, let's take a moment to introduce the ensemble. On bass, we have Ben Ferris laying the rhythmic groundwork. José Guzmán is the chameleon on the guitar, effortlessly shifting between styles. Mark Hetzler imbues the album with the resonant timbres of his trombone. Mike Koszewski handles the drumming duties, providing the rhythmic backbone, and Jason Kutz orchestrates the ensemble through his keyboard skills and varying sonic pallet.

Better Days opens with Kutz's "March," introducing the way the ensemble incorporates many stylistic feels and thematic pivots within their compositions and overall album flow. This arc gains complexity in the rhythmically multi-layered "Fuchsia," finds its groove in the funk-laden harmonics of "Better Days," and reaches an exhilarating zenith in "Uncanny Valley." Now, to truly appreciate the album's intricate craftsmanship, let's dissect its individual components and journey track-by-track through its sonic realms.

In "March," the ensemble gives us a variety of ensemble textures to enjoy. These textures are filled with Kutz's keyboard work to provide a vivid backdrop, layering classical influences over a sturdy jazz skeleton. He is an architect of sound, and "March" is a fine example of his playing and composing skills. The next track, "Fuchsia," introduces the coupling of Ferris's bass and guest Buzz Kemper's spoken word. Ferris's bass lines are complex and fluid, setting the stage for Kemper's narrative to unfold as he delivers a creative spoke work narrative. The bass is the foundation on which the poem plants its roots, providing a firm grounding for its lofty intellectual ambitions, showing that the beauty of this track lies in its synergy between rhythm and speech. Penned by Hetzler, "Better Days" introduces a funky dynamic and feel that enriches the album's musical flow. Hetzler's trombone oscillates between meticulously crafted phrases and bursts of inspired improvisation. It's a balancing act that Hetzler handles with grace and rhythmic accuracy. The tune is a prime example of the ensemble's fusion sound as they blend funk rhythmic elements with jazz sensibilities in the harmony, and Hetzler's trombone navigates through these territories with seasoned expertise.

"Elegy," composed by Ferris, takes us into a more contemplative realm. Here, guest musician Eddie Barbash 's saxophone is fine color and energy addition—its melody is well-structured through the evolving form and harmonic changes. Barbash's ballad playing style fits seamlessly with Mr. Chair's overall sound, adding to the overall texture.

"Abandoned Cities," composed by Hetzler, finds Guzmán stepping into the limelight, providing beautiful colors to the melody with his delicate touch and blending with the trombone. His versatility is highlighted in the instrumental version of "Fuchsia," as Guzmán's solo digs into the harmony with a clean jazz tone and harmonic and melodic approach.

Koszewski's drumming in "Appellation Spring," also by Hetzler, is an example of his impeccable timing and innovative polyrhythms that provide the forward energy and stylitics fluidity demonstrated by Mr. Chair.

"Uncanny Valley" demonstrates how each member of Mr. Chair brings a unique artistry to a composition with their consistent and balanced ensemble sound and chemistry. Kutz's keyboards morph from the lush sound of a grand piano to brassy horn texture, adding nuanced layers that enrich the music's timbre. Hetzler's trombone is the soulful melodic line that ties the piece together, delivering both gentle melodies and quick, electrifying passages. Koszewski's drumming navigates the track's multiple feel changes, infusing them with natural transitions and an intuitive groove. Ferris crafts bass lines that serve dual purposes—laying down rhythmic anchors and providing harmonic clarity. And then there's Guzmán, whose guitar solo is created by blending jazz finesse with rock intensity. "Uncanny Valley" is a fitting climax, showing the individual and collective brilliance that makes Better Days a memorable journey.

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