Dave Stryker: Blue Fire - The Van Gelder Session

Dave Stryker's Blue Fire—The Van Gelder Session features the guitarist performing at one of the most revered venues in recorded jazz, and the chosen setting is anything but incidental. Recorded at Rudy Van Gelder's legendary Englewood Cliffs studio in July 2025, the album benefits from the ambiance itself. Its warmth, clarity, and a sense of history, while showcasing a deeply rooted guitar-organ-drums trio that understands groove as both discipline and release. Joined by organist Jared Gold and drummer McClenty Hunter, Stryker delivers a session that is unhurried, soulful, and confidently grounded in the tradition.

The album begins with two Stryker originals: "Van Gelder's Place," followed by the title track, "Blue Fire." These pieces act as both acknowledgements and mission statements. On the first, Stryker's lines are sharp and blues-influenced, with Gold's organ creating a lively groove. Hunter's cymbal work evokes the classic organ trio pulse without nostalgia. The second piece, the title track, sees the band raising the intensity, riding a smouldering vamp as Stryker solos melodically while Gold's pedal bass maintains musical authority.

The program's interpretive strength is most clear in its standards. Lennon/McCartney's "The Fool On The Hill" is not treated as a simple pop cover but as a bossa nova with harmonic complexity. As Hunter establishes the infectious beat, Stryker performs the melody with quiet dignity, highlighting its introspective nature. Gold reimagines the piece with gentle reharmonization. Charlie Parker's "Dexterity," by contrast, is approached with clarity and respect for its bebop roots. The trio avoids excess speed, focusing instead on articulation and swing. Stryker's lines are sharp and rapid. Gold, an organist, demonstrates equal mastery of groove and harmony. Hunter displays flashy virtuosity in his brief interjection.

Jerome Kern's "The Folks Who Live On The Hill" stands out as one of the album's emotional highlights. Stryker approaches the melody with warmth and patience, allowing each phrase to resonate, while Gold's organ remains restrained, almost orchestral in its support. The performance demonstrates an understanding of the ballad tradition, free of sentimentality. The closer is "Summer Night," by Harry Warren and Al Dubin, is reimagined as a 3/4-time swinger, giving the song a fresh rhythmic profile without distorting its melodic charm. Stryker phrases with relaxed confidence, allowing the melody to dance gracefully across the bar lines, while Gold's voicings keep the harmony light on its feet. Hunter's work is practical here, maintaining lift and momentum.

The album serves as a reaffirmation of timeless values: melody, swing, and the lasting strength of a well-matched trio in a great room.

Comments