From Memphis To Mobile

Dripping with soul, southernness, and sometimes sentimentality, this record is a jazz-blues fusion from the New Jersey jazz heavyweight who currently teaches at the University of Central Florida. Quartet features Rupert on tenor, accompanied by a rhythm section. Ranges from reinterpretation of classic standards to uptempo bebop-style improvisatory tracks to blues ballads. The synthesis comes of pretty well. No FCCs

track 1: lighthearted, uptempo track in blues form/structure yet with a distinctly jazz aesthetic, reminiscent of the tempo and tonal character of bebop, great piano solo from Kenny Drew jr

track 2: haunting, oscillating minor piano melody, has a bossa-nova rhythm, midtempo. air of mystery yet still permeated with cool.

track 3: classic downtempo blues in both song form and harmonic structure. wailing sax plays well off gutbucket style bass. evokes a romantic/sentimental vibe.

track 4: unaccompanied sax/piano duet, strong use of unison and contrasting or aligning rhythms. harmonies are a little predictable. downtempo

track 5: uptempo rhythm section and piano comping drives this piece, over which rupert solos effortlessly. great piano harmonies

track 6: Rupert's interpretation of George Gershwin's classic ballad duet for piano and tenor is melancholy and powerful

track 7: uptempo, bouncy, energetic, characterized by fast, virtuosic sax solos.

track 8: downtempo, sentimental and sappy. wack. introduces Lyman Brodie on flugelhorn for exchange between the two horns

track 9: begins by imitating Louis Armstrong's iconic introductory solo on the classic "West End Blues," paying homage to greats. song itself is another kind of boring downtempo duet.

track 10: has a midtempo rockabilly feel, blues tonalities, saxophone's laidback southern drawl

track 11: remake of Duke Ellington ballad from his "Queen Suite."


Jonah Rexer