Lawson Rollins: Next Steps

Next Steps is a mainstream but delightful mix of jaunty and splendid originals from gifted North Carolina acoustic guitarist Lawson Rollins, continuing his steady rise into the ranks of the finest contemporary musicians. These are ingenious transformations of his eleven heady compositions into rich improvisations in the company of fine musicians who have played with him over the years.

Listening to Rollins play guitar, one is struck by not only the sheer magnitude of his prowess, but how he balances that innate virtuosity with breezy tranquility. From the filigreed fingerpicking of "Bach to Brazil (Sarabande from Violin Partita No. 1)," its tango flavor enhanced by accordionist Colin Hogan and percussionist Marquinho Brasil, to the thumping syncopation of "Speed of Life," there is a comfort, a natural intuition, a sense of belonging. Its soothing atmosphere belies the peerless skill on display. Any note, arpeggio or shift in tempo being out of place is likelier than icicles forming in Barbados.

Rollins' jazz compositions come from an obvious place of discovery, not dictation. His music survives on fundamental nourishment with a not-inconsiderable assist from his choice of musicians. The closing track is a good example as he leads a pared-down trio with Shahin Shahida and Joseph Ehtesham-zedeh adding global flavor to "Finding the Light." 

Other album standouts include the title track, "Next Steps," further showcasing Rollins' embrace of traditional jazz, featuring the expressive saxophone of Gary Meek alongside violinist Mads Tolling, and anchored by the infectious groove of bassist Dan Feiszli. "Morning to Night" unfolds as a sweeping odyssey where Rollins' guitar intertwines with Ben Goldberg's clarinet to trace a seamless arc from first light to final darkness. Multi-instrumentalist Stephen Duros adds drum programming on "Sunset Glow," a slow-burning sequel to their #1 hit "After Twilight," from Rollins' album Infinite Chill: Volume 2 (Infinita, 2024). On the luminous "Spring Awakens," Rollins piquant guitar so viscerally evokes the warmth and hopefulness of the season the artist colorfully paints, complemented by Charlie Bisharat's soaring violin with hints of Stravinsky's wonderful Rite of Spring.

The beauty of song cascades all over the arrangement of "High Line Passage," a sultry and atmospheric journey featuring tidy but rich solos by Feiszli, drummer Jason Lewis and Erik Jekabson on trumpet while Rollins adds some Wes Montgomery- style stylings to the melody. "In Orbit" is played at a relentless pace like a rocket launched to the moon, moving from steady, empathic rhythm and fingerpicked acoustic work into leads that sound like thought made audible—hesitant, then surging, then barely holding together.

Rollins' music operates with a lot of color, textures, suspended harmonics, sideways dissonance, no-fuss chords, and techniques he situates in polyrhythmic lines. The runs are adventurous, at times meditative, while typically he hangs out in the pocket. When his guitar gets going, his soul always tags along. This is exceptionally difficult music to play, but it sounds absolutely breathtaking and effortless; each strum or pluck feels anticipatory, an expression of just the right note at the right time. 

He has been influenced by Andres Segovia from his mid-teens, developing an interest in jazz, flamenco and improvisational Latin and Brazilian picado guitar styles, leading to a pairing with guitarist Dan Young in a fusion group. Next Stepsbrings the best yet version of Rollins. His songs tilt seamlessly between understatement and upheaval: verses cradled by warm, ringing chords, choruses strafed by flurries that stretch a simple progression.

Rollins has a salubrious effect on every song, no matter the pace at which they are played, but recognition of his mastery comes through in each passage containing a flawlessly executed, conspiring shiver of notes. His playing style obliterates any strict compartmentalization. His improvisations live on long after they have stopped vibrating as he makes guitar music without stereotyping.