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James Popik
With 20 years of professional experience as a musician, James Popik has met and developed high quality working relationships with many talented and creative people. Jazz, Acoustic, Funk, and Jamband.
Currently recording the "Sourland Symphony" an all acoustic all instrumental record inspired by and dedicated to the Sourland mountain, James plans a Spring '24 release. Influenced by guitarist as diverse as Wes Montgomery and Duane Allman, Popik eschews labels and genres. Always striving for the highest level of craft and deepest honesty in musical expression.
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Alex Otey: Darwin AI: Surivior Choice
by Kyle Simpler
Concept albums are uncommon in jazz, but pianist, trumpeter, and composer Alex Otey embraces the challenge with Darwin AI: Survivor Choice. This project blends intellect and groove, presenting Charles Darwin's evolutionary theory in a new light by discussing the implications of artificial intelligence through a hybrid of jazz, rock and beyond. Otey's background shapes the album's overall vision. Before turning to music full-time, he studied physics, worked with the Department of Energy and Agriculture and designed software. These ...
Continue Reading“And while Popik has made more than 2,000 appearances at more than 150 venues up and down the east coast including the White House it's the Sourland Festival that has special meaning for him.”
“Three sets of exhilarating instrumental compositions... the evening began with “The Jody Grind,” An excellent take on “Road Song” and “Sugar” were other highlights of the first set. After a short break, they returned with a beautiful take on Pat Metheny’s “Song For Bilbao” which featured terrific solos by James, Ben and Dave. “Green Mountain Melting,” one of James’ original numbers, started with a guitar sound reminiscent of Steve Howe of Yes but quickly moved to another place which was all James and his band, while Chuggy’s amazing percussion took the room on a trip through the mountains. Other great renderings in the set included Antonio Carlos Jobim’s “Insensatez” and “Cold Duck Time” by Eddie Harris. The third set was a short one, but packed with fine musicianship. The band’s take on John Scofield’s funky “Hottentot” was second to none, and the closer, an incendiary version of The Allman Brothers “Hot ‘Lanta,” demonstrated that ja”
