Jakob Dreyer: Roots and Things

Jakob Dreyer originally studying piano from age four, switched to bass at age 14.   He earned a bachelor's degree from the University of Music and Drama in Hamburg, Germany, where he studied both classical and jazz.  He then studied at the Amsterdam Conservatory before later establishing himself as an in- demand sideman in Germany for many years, working with national artists like Gabriel Coburger Sandra Hemper and Sebastian Gillen as well as international artists like Dusko Goykovich, Nils Landgren and Delfeayo Marsalis. He made the move to New York City in 2014 and the following year earned a master's degree in Performance from City College of New York, where he studied with John Patitucci.

Tivon Pennicott, is a Georgia native residing in New York City. The highly sought-after saxophonist, composer and vocalist is a key contributor to three Grammy Award winning albums, appearing on Esperanza Spalding's disruptive recording Radio Music Society (Heads Up International, 2012), Gregory Porter's Liquid Spirit (Blue Note, 2013) and Take Me to the Alley (Blue Note, 2017). 

Sasha Berliner is a musician, composer, producer, and bandleader from San Francisco, CA. A rock drummer turned vibraphonist.  She has headlined international venues like Newport Jazz Festival, The Blue Note, Montreal Jazz Festival, and Monterey Jazz Festival.  In addition to performing with her own band, she has recorded and performed live with such renowned musicians as Tyshawn Sorey, Nicholas Payton, Christian McBride, and Cecile McLorin Salvant. 

Kenneth Salters, drummer, composer and bandleader, has become a fixture on Manhattan's West Village independent jazz scene and around the world as an in-demand sideman.  Born in New Haven, CT, and raised in Columbia, SC, Salters began his musical career on trombone before pursuing his studies as a percussion major at the University of South Carolina.  Since moving to New York in 2006, he has worked with luminaries in jazz and R&B, including Don Byron, Chris Potter, and Aretha Franklin. 

From it's opening moments, Roots And Things establishes itself as a conversation not just between instruments, but between mood and movement, structure and spontaneity. The ensemble moves with intention, allowing space, texture, and interplay to shape the emotional arc of the project.

"The Fifth Floor" opens with subtle bass tones beneath vibrant drumming by Kenneth Salters.  The track unfolds patiently, eventually dissolving into expressive saxophone lines that signal the reflective tone of the project.  It is a quiet but confident introduction.   Energy lifts with "Constellation," where bass and saxophone propel the rhythm forward.  Vibraphonist Berliner adds shimmering tonal color before Pennicott's tenor saxophone solo expands the harmonic landscape.  The interplay feels purposeful, never rushed.  Groove becomes central in "Follower." Bass, drums and vibraphone establish a warm rhythmic pocket before the saxophone enters boldly.   The vibraphone responds with restraint, creating a dynamic contrast that underscores the ensemble's sensitivity to balance.  On "June Tune," Jakob Dreyer's bass solo provides melodic grounding, while Pennicott's saxophone lines glide with measured clarity.  The track breathes reflective and intimate.   "Land of 1000 Blues" short interlude.  

"With a Song in My Heart" reintroduces emotional depth.  Percussion gently supports a melancholy saxophone melody.  Vibraphone textures shimmer subtly, and Dreyer's bass solo unfolds over quiet tones before the track settles into a soft close. "Bodega" interlude functions as a compact city sketch. Brief but vivid. "Downtime" slows the pace with upright bass and understated percussion.  The spacious phrasing allows saxophone, vibraphone, and bass solos to resonate without excess.  One of the project's most compelling moments arrives with "Fight or Flight."  Dreyer, Pennicott, and Berliner engage in a collaborative improvisational exchange that demonstrates both technical mastery and attentive listening.  A true example of ensemble chemistry.  "MTA" interlude is reminiscent of New York's daily cadence.  "Hold On" carries steady momentum through a saxophone-led melody supported by percussion and a warm bass solo. On "Room 1102," the ensemble exhales collectively, ending the project with subtlety rather than spectacle.

"Roots and Things" returns with a softer saxophone opening before expanding into rhythm section interplay.   Berliner's vibraphone work stands out here, blending nuance and rhythmic precision.   "Invisible" short interlude acts as a transitional space that resets before the narrative shifts. Urban pulse becomes unmistakable in "Big Apple," a moderate up-tempo groove anchors the track while progressive saxophone solos and vibraphone responses build layered momentum.  The composition captures city movement without sacrificing musical refinement.  "Choral Diner" provides a cool- down resolution.   

Throughout the recording, the strength lies not in individual virtuosity alone, but in conversation.  Each player listens as intently as they perform.  The result is a cohesive modern jazz statement rooted in groove, texture, and mutual trust,