All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
For his fourth album, guitarist Adam Rafferty submits his first all-original program. The New York musician studied classical guitar at SUNY Purchase and is a student of pianist Mike Longo. Rafferty has an impressive list of musical employers, such as the Dizzy Gillespie Big Band, Benny Golson and Jimmy Owens. Longo and former boss Bob Cranshaw have sat in on the guitarist's earlier albums.
In his liner notes, Adam Rafferty advises that he has absorbed the respective styles of jazz guitar rather than be influenced by a singular musician, and while he does dedicate one tune, "Blues For Wes and George," it is certainly possibly to hear illustations of the above thought. On the blues tracks, like "Blues for My Shoes," "Like No Place on Earth" and the aforementioned Montgomery/Benson dedication, Rafferty very successfully channels the style of Kenny Burrell on Blue Note circa late 1950s and early 1960s. On "Crimson," he absorbs the Wes Montgomery octave style for a tasty performance. Two tracks have a "radio-friendly" sound: the opening "America" is a post-9/11 influenced composition that could easily be aired on a smooth jazz station, and "Bootieology" introduces a funk jazz flavor.
Three Souls is further enhanced by the participation of Rafferty's working trio. Bassist Danton Boller contributes several strong solos and maintains a steady pulse thoughout, while Tomas Fujiwara's drums provide colorful and effective shading.
Track Listing: America, Crimson, Object of Desire, Blues for Wes and George, Tempest, Different Bread, Two Souls, Blues for my Shoes, Bootieology, Hurricane Bertha, Like No Place on Earth.
Personnel: Adam Rafferty,guitar; Danton Boller,bass; Tomas Fujiwara,drums
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.