John Pachnos: John Pachnos

Bassist John Pachnos had not yet reached his 25th birthday when this splendid self-named debut album was recorded, in 2025. Having performed for two years on cruise ships, he simply decided that it was time to introduce himself to a wider audience.

After singling out a quintet as his vehicle of choice, he set about assembling the group by contacting friends and former classmates at Rutgers University's Mason Gross School of the Arts: saxophonist Carter Vames, guitarist Caleb Heinze, pianist Frankie Midnight and drummer Justin Vedovelli, all of whom were ready and eager to take part in the enterprise—and each of whom would later prove that Pachnos' decision to include him was no less than inspired.

Pachnos charged the ensemble with interpreting seven of his bright original compositions, starting with "Avgonyma," named for the small town on the Greek island of Chios, where Pachnos' great-grandparents were born, and for which Pachnos learned to play the bouzouki, a stringed member of the lute family that is popular in Greece. With bouzouki in the forefront, the album's opening track is unlike anything else on the album, its luminous Mediterranean vibe reinforcing dynamic solos by Vames and Vedovelli.

The bold and exuberant "Gettin' Outta Dodge," which follows, is so unlike "Avgonyma" that it's almost akin to hearing another group, as everyone enhances the hard bop groove to encase a straight-on solo by Vames and nimble eight-bar volleys by Midnight and Vedovelli. "Well, Well, Well" is a graceful jazz waltz on which Vames and Heinze share the melody and Midnight, Vames and Pachnos solo. "Floridian Winter" is a Latin-toned gem wherein Vames moves from tenor to flute (and solos brilliantly), Pachnos to electric bass, and Midnight to Wurlizter electric piano (as he does later on "No Funks to Give").

Vames shines brightly (as does Pachnos) on the gentle ballad "As Summer Turns to Fall," appending to his charming solo a superbly improvised a cappella cadenza that sets the stage for the rough and greasy "No Funks," on which Vames divides blowing space with Heinze (on electric guitar) and Midnight. The album's over-all high caliber is lessened to some extent by a twisted and chaotic closing number, "Take It All Off." While it may not be the best way to close a door, a sympathetic listener can ascribe it to Pachnos' youth and/or a "something for everyone" mindset. Pachnos and his teammates strike the target far more than they miss, making for an introductory album that is easily recommended.