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UID:9fac93c8-0d1f-46b3-b026-4146ecd76cd7@findlocal.community
DTSTAMP:20261012T010804Z
DTSTART;TZID=America/Chicago:20261209T190000
DTEND;TZID=America/Chicago:20261209T210000
SUMMARY:Jakob Dreyer Quartet $25
DESCRIPTION:Bassist-composer Jakob Dreyer Showcases a New Sound\, a New B
 and and an Urge to Swing on his third album as a leader\, Roots and Thin
 gs While the versatile German-born\, New York-based bassist Jakob Dreyer
  had already proven himself quite a prolific composer on two previous vo
 lumes of his Songs\, Hymns and Ballads\, he takes things up a notch on R
 oots and Things. Assembling a formidable crew in vibraphone sensation Sa
 sha Berliner\, acclaimed tenor saxophonist Tivon Pennicott and in-demand
  drummer Kenn Salters\, Dreyer showcases 15 vibrant and persistently swi
 nging original compositions along with one well-chosen cover on his thir
 d recording for the Barcelona-based Fresh Sound New Talent label. With i
 ts emphasis on urgent swingers\, muscular grooves and thoughtful ballads
 \, interspersed with brief interludes serving as kind of palette-cleanse
 rs for the listener\, Roots and Things is a profound statement by the ba
 ssist-composer who has become a ubiquitous figure on the NYC jazz scene 
 since moving to the Big Apple in 2014. “After my previous two albums\, w
 hich featured piano (Jon Cowherd)\, I felt I wanted the next one to soun
 d different\,” said Dreyer. “So I was thinking what would be a good way 
 to change it. And I thought of different instruments before settling on 
 vibraphone. It just shapes the music so much\, I think. And also\, Dave 
 Holland’s use of vibraphones on several of his records definitely was an
  influence in my decision.” And what Bay Area-born 27-year-old Sasha Ber
 liner brings to the party is something wholly unique. Named one of “10 R
 ising Women Instrumentalists You Should Know” by SFJAZZ Magazine in 2018
 \, she was described a “young mallet master” by JazzTimes while being ci
 ted as #1 Rising Star Vibraphonist in the 2020 Downbeat Critics Poll at 
 age 21. She is joined on the frontline by Pennicott\, one of the most fl
 uent and engaging saxophonists on the scene today\, and pushed by the pr
 opulsive rhythm tandem of Salters and Dreyer. Together they exude remark
 able chemistry from track to track on Roots and Things. Regarding the ti
 tle\, Dreyer explained\, “I thought it has several meanings\, but for me
  it’s all about the bass\, because that’s what I mostly do\, play the ro
 ot.” The album opens on a mesmerizing note with minimalist “The Fifth Fl
 oor\,” underscored by Berliner’s hypnotic vibes ostinato and fueled by S
 alters’ crisp\, power-precision drumming. “Constellation” is a freewheel
 ing swinger with Pennicott’s bold tenor sax stating the opening motif be
 fore jumping off on a surging uptempo solo paced by the leader’s unerrin
 g\, driving bass lines and fueled by Salter’s interactive attack on the 
 kit. Berliner also contributes an invigorating bop-inspired solo here an
 d Dreyer follows with a resounding solo rooted in his bass heroes Paul C
 hambers\, Dave Holland\, George Mraz and Niels-Henning Ørsted Pedersen. 
 The angular “Follower” is a launching pad for some potent explorations b
 y tenorist Pennicott and vibist Berliner. Drummer Salters is unleashed o
 n the kit over a band ostinato on this intensely grooving number. Things
  settle into a mellower space on “ June Tune\,” a mysterious\, harmonica
 lly rich tune providing abundant solo space for Berliner\, Pennicott and
  Dreyer\, whose deep-toned exploration here is a lyrical highlight. The 
 burning interlude “Land of 1\,000 Blues” is a brief (all of 20 seconds) 
 but fiercely swinging take on Chris Kenner’s 1962 rock classic\, “Land o
 f 1\,000 Dances\,” subsequently made famous in hit single versions by Ca
 nnibal & the Headhunters and Wilson Pickett. It is the first of four suc
 h segues on Roots and Things. “I thought I could just use these interlud
 es in between the main songs\, just to reset your mood\,” explained Drey
 er. “So if you’re listening to the whole album all the way through\, you
  come to these resets and you can enjoy the next song again.” The lone c
 over tune here\, a modernist 5/4 take on the Rodgers & Hart show tune fr
 om 1929\, “With a Song in My Heart\,” is a showcase for some probing imp
 rovisations by Berliner\, Pennicott and Dreyer. It is followed by anothe
 r interlude\, the loping mid-tempo “Bodega\,” which fades after 32 secon
 ds of insistent swing and walking bass. The dreamy ballad “Downtime\,” u
 nderscored by Salters’ brushwork and Berliner’s resonant comping on vibe
 s\, reveals the leader’s instinct for contrapuntal playing. Berliner\, P
 ennicott and Dreyer each offer brilliant\, highly expressive solos on th
 is poignant number. The burning “Fight or Flight\,” an up-tempo romp wit
 h an intricate head and a riff reminiscent of Wayne Shorter’s “Yes or No
 \,” uncorks some scintillating solos from Berliner and Pennicott\, paced
  by Dreyer’s resolute walking bass lines. Vibes and sax engage in some r
 apid-fire exchanges with drummer Salters as the piece heats up. The 42-s
 econd interlude “MTA\,” swings forcefully with some tightly synchronized
  hits along the way\, then “Hold On” is a showcase for the leader’s cont
 rapuntal playing and Salter’s highly interactive instincts on the kit. P
 ennicott and Dreyer each deliver depthful solos against Berliner’s liqui
 d vibes comping on this probing minor key number. “Room 1102\,” named af
 ter Dreyer’s dorm room at City College\, is built on an entrancing ostin
 ato that frees up drummer Salters to unleash on the kit with impunity. T
 he title track is a beautifully evocative number with Berliner adding an
  air of mystery in her floating vibes comping while Dreyer’s contrapunta
 l bass lines and Salter’s crisply interactive drumming provide a stalwar
 t anchor for the piece. Berliner\, Pennicott and the leader each deliver
  forcefully compelling solos here. The 20-second interlude “Invisible” i
 s a brief taste of Pennicott’s sax paired with Salters’ brushwork\, then
  “Big Apple” slams with authority on the strength of Salters’ muscular b
 ackbeat and Dreyer’s resounding bass lines. “I just wrote that song\, an
 d then I felt like it sounds a little bit like Brad Mehldau playing on s
 ome pop songs type of thing. And actually\, Oscar Peterson already did t
 hat in the ‘70s\, where it’s almost like with a back beat thing but it’s
  also got this kind of driving\, swinging quality.” Berliner and Pennico
 tt each deliver buoyant\, bracing solos on this hard-hitting groover. Ro
 ots and Things closes with the classically flavored “Choral Diner\,” whi
 ch finds the leader overdubbing four arco basses in a kind of chamber qu
 artet setting. “It’s a play on words\,” said the composer. “Because it’s
  a chorale\, but it’s also named after the Coral Diner that used to be a
 round the corner from where I live.” Dreyer’s most highly personal recor
 ding to date\, Roots and Things is the next level in the evolving career
  of this emerging talent. ABOUT THE ARTISTS Jakob Dreyer\, originally st
 udying piano from age four\, switched to bass at age 14. He earned a bac
 helor’s degree from the University of Music and Drama in Hamburg\, where
  he studied both classical and jazz. He then studied at the Amsterdam Co
 nservatory before later establishing himself as an in-demand sideman in 
 Germany for many years\, working with national artists like Gabriel Cobu
 rger\, Sandra Hempel and Sebastian Gille as well as international artist
 s like Dusko Goykovich\, Nils Landgren and Delfeayo Marsalis. He made th
 e move to New York City in 2014 and the following year earned a masters 
 degree in Performance from City College of New York\, where he studied w
 ith John Patitucci. Dreyer has performed with a variety of notable jazz 
 artists\, including Steve Wilson\, Rich Perry\, Anna Webber\, Jochen Rue
 ckert\, Mike Holober\, Rogerio Boccato\, Glenn Zaleski\, Jon Davis\, Tob
 ias Meinhart\, Jamie Baum\, David Berkman\, Ron Blake\, Billy Drewes\, M
 areike Wiening\, Troy Roberts\, Marta Sánchez\, Alex Goodman and Manuel 
 Valera. He has also appeared on over 30 albums as a sideman. Dreyer cite
 s Paul Chambers\, Dave Holland\, George Mraz and Niels-Henning Ørsted Pe
 dersen\, along with the Bill Evans bass players Scott LaFaro\, Eddie Gom
 ez\, Gary Peacock and Marc Johnson\, and Scandinavian bassists Anders Jo
 rmin and Palle Danielsson\, as major bass influences. He points to the e
 arly ‘60s Blue Note era of Wayne Shorter and Herbie Hancock as major com
 positional influences\, along with Bill Evans\, Joe Henderson\, Chick Co
 rea\, Kenny Wheeler and J.S. Bach. Tivon Pennicott\, a Georgia native re
 siding in New York City\, the highly sought-after saxophone player\, com
 poser and vocalist is a key contributor to three GRAMMY Award winning al
 bums\, appearing on Esperanza Spalding’s disruptive recording Radio Musi
 c Society (Heads Up International\, 2012)\, and Gregory Porter’s Liquid 
 Spirit (Blue Note\, 2013) and Take Me to the Alley (Blue Note\, 2017). O
 n screen\, Pennicott appeared regularly on “The Late Show with Stephen C
 olbert” as a member of the Stay Human Band with Jon Batiste before recor
 ding on his records Chronology of a dream: Live At The Village Vanguard 
 (Verve\, 2019) & Anatomy of Angels (Verve\, 2019) Live At The Village Va
 nguard. His evolving sound is the result of a soulful\, sophisticated fo
 undation for groove he honed in the church\, and a penchant for unbound 
 harmonic exploration. Pennicott has toured and collaborated with such vi
 sionaries as Roy Hargrove and his RH Factor project and Kenny Burrell wi
 th his Jazz Heritage All Stars. After having recorded with Kenny Burrell
  for his 2010 release Be Yourself on High Note Records\, Pennicott conti
 nues to enjoy a decade- long association with the prolific guitarist and
  his group. Meanwhile\, touring the world with Gregory Porter\, Pennicot
 t has performed at iconic venues\, including The Royal Albert Hall in Lo
 ndon\, the Berliner Philharmonie in Germany and Carnegie Hall in New Yor
 k\, to name a few. Sasha Berliner is a musician\, composer\, producer\, 
 and band leader from San Francisco\, CA. A rock drummer turned vibraphon
 ist. She has headlined international venues like Newport Jazz Festival\,
  The Blue Note\, Montreal Jazz Festival\, and Monterey Jazz Festival. In
  addition to performing with her own band\, she has recorded and perform
 ed live with such renowned musicians as Tyshawn Sorey\, Nicholas Payton\
 , Christian McBride\, and Cecile McLorin Salvant. She is an endorsing ar
 tist for Marimba One and Vater Drumsticks. Sasha has been a guest lectur
 er at University of Champaign-Illinois\, UC San Diego\, Stanford Jazz Wo
 rkshop\, and Berklee College of Music\, and is currently a Professor of 
 Jazz and Jazz Composition at UC Irvine. Kenneth Salters\, drummer\, comp
 oser and bandleader\, has become a fixture on Manhattan’s West Village i
 ndependent jazz scene and around the world as an in-demand sideman. Born
  in New Haven\, CT\, and raised in Columbia\, SC\, Salters began his mus
 ical career on trombone before pursuing his studies as a percussion majo
 r at the University of South Carolina. Since moving to New York in 2006\
 , he has worked with luminaries in jazz and R&B including Don Byron\, Ch
 ris Potter\, and Aretha Franklin.\n\nMore info: https://www.northstreetc
 abaret.com/events/2026/12/9/jakob-dreyer-quartet\n\nhttps://findlocal.co
 mmunity/event/9fac93c8-0d1f-46b3-b026-4146ecd76cd7
LOCATION:North Street Cabaret\, Madison\, WI
URL:https://findlocal.community/event/9fac93c8-0d1f-46b3-b026-4146ecd76cd
 7
STATUS:CONFIRMED
SEQUENCE:0
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