James Davis Quintet

Two of the TMO’s star soloists—the husband-and-wife team of trumpeter James Davis and saxist Caroline Davis—work together and separately in several other bands on the Ears and Eyes label, and one of them, the James Davis Quintet, recently released what may well be the imprint’s most fully realized album. (Unfortunately the JDQ won’t play at this weekend’s fest.) Angles of Refraction has become my favorite disc of the past couple months, standing up to repeated listenings with a program divided evenly between up-tempo postbop and jazz flavored with balladic Americana. The Davises are a formidable pair: On alto, Caroline improvises with a balance of passion and polish that younger horn players often lack, sometimes using a rococo touch to curl around her husband’s trumpet lines. And James’s playing—with its pure tone, measured melodies, and judicious use of both notes and space—reminds me of the fresh breath Chet Baker blew through bebop in the early 50s.

James’s best tunes—the album-opening hymn “Cotton,” the loping anthem “Plastic Piano”—share the simple (but not simplistic) tunefulness that Bill Frisell and Pat Metheny have used to such great advantage. They have a wide-open prairie sensibility, and the melodies forswear the vertiginous leaps and bounds endemic to bebop, early avant-garde jazz, and today’s free-improv energy music, instead tracing gently rolling arcs—shapes further softened by the use of electric piano in the rhythm section.

On the Fender Rhodes, in fact, Sean McCluskey threatens to steal the show. To an extent he stands out because, as the only plugged-in member of the quintet, he gets to play “mad genius” a bit. He has a lithe attack that buoys his chewy chords, and his solos bubble with originality—but for all his inventiveness, his playing consistently reaffirms core jazz values like ear-catching technique and narrative propulsion. - Chicago Reader

Trumpeter James Davis, who hails originally from Texas, is currently on the faculty at Triton College in River Grove, IL, where he directs the Jazz Band. His past performance experience includes work with the Glenn Miller Orchestra, Chuchito Valdes and Rob Parton’s Jazz Tech Big Band. He moved to the Chicago area after finishing a Masters Degree in Trumpet Performance from the University of North Texas; his Bachelor’s degree was earned at the University of Texas at Arlington. His trumpet playing abilities have been recognized as he placed as a finalist in both the International Trumpet Guild Jazz Improvisation Competition and the Carmine Caruso International Jazz Trumpet Solo Competition. Angles Of Refraction is his second release as a leader.

Recorded in March of 2007, this recording of mostly mid-tempo, darkly moodish pieces is rather captivating. What makes this recording stand out are the inventive arrangements and exclusive use of Fender Rhodes as the keyboard instrument. Most of the compositions, all are by Davis, are like “Fair Enough.” Within the traditional jazz quintet line-up Davis writes lines for the two horn players, trumpet or flugelhorn and alto sax, that swirl and spin around each other. They don’t dart so much as intertwine around each other. The use of the electric keyboard and the chordal voicings Sean McCluskey uses emphasize this compositional feature. Even on the few uptempo numbers, such as “As It Were,” the same compositional/arranging style is used to great effect.

As far as soloistic abilities are concerned, Davis prefers to use a variety of different diminished scale fragments in constructing his lines. Placing them within mostly narrow tessituras, he is still able to craft inventive lines. There is a sameness to his solos, from tune to tune, that becomes apparent as the disc progresses but this can be excused as Davis is still a young and developing soloist.

Saxophonist Carolina Davis, a freelance musician in the Chicago area and currently in graduate school at Northwestern University, plays with a relaxing coolness that is works especially well when pitted with James. Her improvised duet-solo on “Reciprocal” is her best of the CD. These two are obviously of the same intellectual point of view when it comes to jazz, and listening to them trade like-minded lines is sweetly sublime.

Keyboardist Sean McCluskey, bassist Jeff Greene and drummer Jon Deitemyer are perfect in their support of the two horn players. Their ability to allow James all the open space he needs as he, in part, works with the concept of rest on tunes like “On The Fly” and “None Of The Above,” is excellent. Deitemyer is particularly sensitive throughout the disc in pushing Caroline forward during her solos. He may be someone to watch in the future.

All in all this is a really good early recording by still young and developing musicians. - JazzReview.com

Anyone who doubts that jazz is alive and well need look no further than the streets of Chicago to get their record set straight. Young artists like Corey Wilkes, Jabari Liu, Keefe Jackson, Gary Tu, Justin Dillard, Shawn Maxwell, Pete Carney, Darwin Noguera, Joel Moore, Pat Mallinger, Jason Steele and many more are keeping the music fresh and exciting, making it an exciting time for jazz fans here in the Windy City. Another young group – the James Davis Quintet has recently released their debut disc – “Angles of Refraction” and it is another fine testament to the talent and creativity of the players involved and the vitality of the young Chicago scene.

“Angles” features several players who are making a name for themselves on the local scene, starting with trumpeter James Davis, a Masters grad from North Texas and finalist in the 2007 Carmine Caruso Int’l. Trumpet Competition, now located in Chicago, whose chops are matched by his velvety tone. Davis is joined here by his wife, the up-and-coming young saxophone star, Caroline Davis, whose intelligent and sensitive work with a number of different ensembles around Chicago has garnered considerable attention and acclaim. These two are joined by pianist Seán McCluskey, a Northwestern Masters grad who has performed with Bobby Broom. Dennis Carroll and Joel Spencer among others, and who appears here exclusively on Fender Rhodes. Bassist Jeff Greene is also a rising star, working with several groups around town, while drummer Jon Deltemeyer has worked with artists like Patricia Barber, Grazyna Auguscilk, Greg Osby, Sam Barsh and Zach Brock and the Coffee Achievers. These artists may still be young, but they have years of experience and it shows in this surprisingly mature release.

The music here is confident and in control at all times and the players play extremely well together. The two Davises’ horns move in such an uncanny synchronicity as to give the music an extra effect of ultra-sensitivity (listen to the way the two wrap their lines around each other on “On the Fly”). James’ flugelhorn is especially burnished and effortless, while Caroline’s riffs, as always sparkle with inner spirit. The contributions of the supporting cast to their front line is wonderful: McCluskey’s shimmering keyboard lines add to the fun, while with the rhythm section shows they deserve the faith put in them by their bandleader with their solid, yet inventive work.

These James Davis-penned songs are mostly highly-developed, mid-tempo, mainstream (in the best sense) compositions with very slight touches of rock and modern pop music flavoring the mix. “Cotton” is cottony soft and smooth, building to an anthemic climax, highlighted by exceptional solo turns by all, while “For Another Time” is a fast-paced burner featuring great work from all, especially Caroline Davis burning up her alto sax. Some other gems include James Davis’ delicious flugelhorn solos on “Plastic Piano” and “Fair Enough,” McCluskey’s Rhodes solos on “Plastic Piano” and the rocking “As it Were,” Greene’s tasty bass solo on “Reciprocal,” Caroline’s angular solo on “None of the Above” and Deltemeyer’s intro on “For Another Time” and sonic bursts on “In Between.” But it is hard to single out moments when the playing and songwriting are as consistently good as they are here throughout. Finally, the recording/mixing by Brian Schwab is clear yet warm and balanced, not unlike the music itself, truly enhancing the listening pleasure.

Available on Chicago’s own Ears&Eyes records, “Angles of Refraction” is a suggested addition to your collection of 2007 releases, featuring enjoyable music filled with dreamy atmospheric, lovely tones and stimulating solo forays played by an ensemble of young musicians who are making a name for themselves in the exciting Chicago jazz arena.

Brad Walseth,
JazzChicago.net, October, 2007 - JazzChicago.net