Chad Taylor: Smoke Shifter

Smoke Shifter leans toward tradition, which is perhaps a bit surprising given the exploratory, cutting-edge music previously produced by everyone in this quintet. Led by master percussionist Chad Taylor, the album is a diverse program of well-crafted, contemporary songs performed by an egalitarian collective.

Taylor co-founded the Chicago Underground bands with Rob Mazurek, celebrated Albert Ayler with Marc Ribot and performs with the Exploding Star Orchestra. Prominent amongst his numerous collaborations is his essential work in James Brandon Lewis' quartet. In another vein, he joined Kevin Diehl and his mentor Joe Chambers on the all-percussion album Onilu (Eremite Records, 2025).  A Philadelphian since 2017, he performs around the city and mentors the next generation, all while heading Jazz Studies at the University of Pittsburgh. He is one busy artist.

Victor Vieira–Branco (vibraphone), of Brazilian heritage, also relocated to Philadelphia from Chicago, where he expanded from his early punk-rock music into jazz via studies with Jason Adasiewicz. His playing can be subtle, melodic, percussive or free, providing a bright clarity.  Philly-area natives Bryan Rogers (tenor saxophone) and Matt Engle (bass) have honed their chops and writing skills since graduating from the University of the Arts in 2003 through their adventurous band Shot x Shot and with local legends Marshall Allen, Kevin Diehl and Bobby Zankel. All three infuse the music with imagination and heart. 

The album is primarily a Philadelphia affair. The one outlier is Jonathan Finlayson, a wise addition on trumpet. Little wonder he can serve up inspired flights of ideas on complex themes, given his early days with Steve Coleman and subsequent work with, amongst many others, Henry Threadgill, Mary Halvorson and his own band, Sicilian Defense.

This release is Taylor's sixth as a leader, although he has appeared on over 110 albums. It kicks off with Rogers' "Broken Horse," a swinging modal piece with a deep, resonant bass groove and dancing percussion supporting sinuous lines and dynamic solos. Engle's abstract and knotty "Avian Shadow," driven by a steady rhythm, showcases the creativity of Finlayson and Rogers with complex themes.

Taylor contributed two compositions, further evidence that drummers do indeed compose great songs.  "Waltz for Meghan" is a beautiful tune written for his partner, sung sweetly by the horns and enhanced by a contrasting vibraphone line. Engle, Rogers and Finlayson each take the waltz for a delightful spin with graceful, lyrical support by Vieira-Branco.

The multifaceted title cut epitomizes this group's strengths, with the horns choreographed over a swinging rhythm section. Rogers is soulful. Finlayson and Viera-Branco each contribute vibrant solos. Taylor's musical percussion is omnipresent but never overshadowing.

The album concludes with a trilogy by Vieira-Branco. It begins with the dreamy ballad "October 26th," which transitions into the upbeat and abstract "Paradise Lawns."  Initially played in collective harmony, the pulse eventually dissolves and entropy ensues as the players disperse.  A percolating, shimmering drum solo serves as the segue into the lyrical conclusion "October 29th."  Previously performed by Vieira-Branco with his trio, Bark Culture, it demonstrates its versatility when scored for horns.  

Taylor states:  "'Paradise Lawns' was challenging to play and we worked a lot to figure out an arrangement. It's [based on] a very polyrhythmic figure both harmonically and rhythmically -it's a brilliant piece."

 As is the entire album.

Comments