The Shakedown (album) by Jason and The Jazzerknots

Jazz-Swing-Guitar

A love letter to the many styles that fall under the jazz umbrella, the tracks that comprise “The Shakedown” consist of musical transliterations of the composer’s life experiences. From the skips and jumps of “Harper Dance” to the effusive meditation of “Black Cars and Taco Bars”, from the funky swagger of “Jazz Camp” to the walking swing of “Steppin on the Avenue”, Jason and the Jazzerknots evoke many moods and points of catharsis. Featuring inspired solos and melodies, “The Shakedown” uplifts listeners accessibly with its sonic appeal.

Artist Statement:

“The Shakedown” brings together four expert jazz artists on 11 enchanting tracks. Guitarist and composer Jason Goessl leads the group with the unique, horn-like approach to the guitar while the rhythm section, featuring Josh Gallagher on piano, Jeremy Boettcher on upright bass, and Mike Malone on drums, takes its inspiration from the great rhythm sections of jazz history. Laying down a deep, contagious grooves, “The Shakedown” supplies an album of inspired, accessible jazz sure to appeal to a variety of music lovers.

About Jason and The Jazzerknots:

Jason and the Jazzerknots formed to play original jazz compositions that appeal to listeners of all stripes. Led by guitarist and composer Jason Goessl, and featuring Josh Gallagher on piano, Jeremy Boettcher on upright bass, and Mike Malone on drums, the group sounds as if they are just getting started—as if you’ve wandered into a jazz performance in the middle of the first set. Their sound is grounded in the great tradition of jazz rhythm sections, from the Big Band Era to the present, and topped with Jason Goessl’s unique, horn-like approach to the guitar. Their debut album “The Shakedown” showcases the range of the Jazzerknots appeal and skill, featuring all original compositions by Jason Goessl that range from the pensive and evocative to the joyous and swinging.

About Jason Goessl:

A subtle aesthetic sensitivity and a veritable encyclopedic knowledge of the guitar have made Jason Goessl one of the most exciting musicians of recent vintage. His studies began on guitar in the small town of Maribel, Wisconsin and grew during his college years at the University of Wisconsin-Eau Claire, where he honed his jazz skills. After wrapping up his studies, he moved to Seattle, where he recorded and produced for a variety of styles, including indie rock and folk music, becoming a regular fixture of the local music scene. Now calling Oshkosh, Wisconsin home, Mr. Goessl divides his time between his record company, Sun Goose Records, his jazz duo featuring his wife, Kate Voss, on vocals, Sundae + Mr. Goessl, and various other musical projects that catch his attention. His most recent jazz recording as a leader serves as a retrospective, featuring compositions he created over the past 10 years, and serves as a love letter to the jazz guitar. Mr. Goessl’s unique style, which features striking patterns of articulation and technique, was developed not only through a thorough study of jazz guitar masters, but by studying tonguing patterns of clarinet and saxophone players as well.

Review:

Guitar styles and fads come and go, but, like wardrobes, certain things remain classic and timeless. Like a navy blue sport jacket, guitarist Jason Goessl and his Jazzerknots Josh Gallagher/p, Jeremy Boettcher/b and Mike Malone/dr serve up small group jazz that fits any occasion and environment. Even better, the tunes are all originals, so while there is definite inspiration, there is no imitation. Goessl himself has a style and tone that carries the torch from the early days of Lang. There’s a dash of Les Paul and Chet Aktins in his swinging around Malone’s brushes on the nifty title tune while riding the tube like a longboarder over the cymbals on the snappy “Big Chart”. Goessl also has imbibed the tasty note selection of Oscar Moor, giving slinky chords to “Black Cars and Taco Bars” and strutting the blues out on “Steppin’ On The Ave”. The band takes a Wes Montgomery groove to the four on sixish “Harper Dance” while Gallagher goes Monk to the guitarist’s Wes on the clever “Don’t Crack Jack”, with some hip bass work by Boettcher to boot. Malone’s brushes are as deft as an umpire working the plate on the soft shoe of a Latinized “Can’t Get It Outta My Head” and the team gets into a funky 70s mood with Goessl wacka-wookaing to the backbeat of “Jazz Camp”. All throughout, the team is as clean and polished as the grill of a ’49 Buick, and cruises like one with a V8 engine. These guys thinking of touring around? ~George W. Harris @jazzweekly

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