reviews
BONFIRE (2019)
“Chris Madsen’s compositions delve into balladry, the blues and a modernism that edges on the abstract—but remains accessible. The tenor saxophonist knows how to gin up tension, and, as the sequencing of this substantial album proves, he also knows the value of release. Bonfire, with its connotations of community, celebration and risk, is an apt title for this Chicago group’s engaging work.
Madsen and his cohort (pianist Stu Mindeman, drummer Dana Hall and bassist Clark Sommers) don’t abide by conventional head-solo-head structure. Rather, they play off each other conversationally. But Madsen just digs diverse grooves: Listeners get the lanky title track, the furious “Lone Wolf” and “It Is All Of Value,” an intriguing work where Madsen asserts himself, blowing low and saucy. The album’s focal point is “Hundred Center,” a ballad featuring the leader at his most relaxed and Mindeman at his most expansive. The finale is “Cellar Door,” a ballad that starts on a bluesy note and builds to a liberating, genre-free pulsation. Madsen’s straightforward tone takes on unusual warmth, Sommers gets a star turn, and Mindeman and Hall—as much colorist as timekeeper—throw off sparks, taking this ambitious album out on a satisfying note.
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— Carlo Wolfe, Downbeat Magazine
“Madsen has evidently and effectively incorporated what he has learned by studying classic tenor players into his own niche; yet his compositions are refreshingly original, with excellent moments of counterpoint, and offer nuances on classic playing that can be appreciated by seasoned listeners. For example, listen to “It Is All of Value.” The deep swing and articulate expression take me back to people like Joe Henderson, with a dash of Prez. As usual, I love the punctuations Hall gives to keep things lively. ...The best albums get better with each listening. This is one of those. Kudos to Chris Madsen and this all-star band for living up to the hype . . . as usual.”
“Bonfire finds Madsen leading a new quartet, and presents him as a man whose creative output has only just begun to peak. Not until its third song is reached, does it become clear that the best approach to his work is to expect the unexpected. Better yet, to suspend expectations altogether, because the quartet defies convention while working within its constraints. It’s a refreshing tune which seems at first glance to be straightforward jazz, yet seeks to prove that the composition can take the forefront without overshadowing the artist.
The album is comprised of eight songs written by Madsen, and anyone under the impression that aggressive soloing or genre-bending statements are requisite ingredients for creating fresh music need only listen to the saxophonist’s work here to learn just how effective subtlety can be. ”
“In my eyes, Chris Madsen is a musician who can truly do anything. His knowledge of our jazz
ancestors is impressive; he invests, deeply studying and reflecting to create new perspectives.”
kings of the lobby (2017)
“Drawing inspiration from classic jazz-funk bands, saxophonist Christopher Madsen founded the quintet Kings of the Lobby. Consisting of some of the best musicians on the Chicago scene, the ensemble performs unique arrangements of hit songs from the past several decades. Their eponymous debut release showcases nine of these elegant and lively interpretations.
For instance, the medley of David Bowie’s “Let’s Dance” and “Fame” has a loose electric cadence. Over these soulful beats, Madsen and trumpeter Victor Garcia trade sinewy vamps with guitarist Neal Alger. Garcia embellishes the melody with ethereal tones and vivid sound as Madsen colors his phrases with reverberations and honks. Drummer Neal Wehman concludes with an energetic solo over the group’s funky refrains.
The collective interplay has a bright effervescence that flows gracefully and with ease. Although the basic structures of the tunes are unchanged and hold few surprises, the individual musicians spice up things with clever and creative touches. A unique rendition of Sting’s “Shape of My Heart” features an intriguing duet between Madsen and Garcia that has hints of trad jazz. While on Peter Gabriel’s “Solsbury Hill,” keyboardist Paul Mutzabaugh takes center stage with an expansive and virtuoso improvisation.
Spontaneity runs as a thread through the entire album. Bassist Andrew Vogt gives Chaka Khan’s “I Feel for You” an infectious jazzy edge with his muscular and resonant chords, as Mutzabaugh contributes gritty and swaggering lines. Elsewhere, Alannah Myles’ “Black Velvet” gets infused with a hefty dose of the blues with Madsen and Garcia blowing with gusto. Alger lets loose, eloquent blistery notes over the rhythm trio’s swaying refrains.
The disc closes with the light and upbeat “Things Can Only Get Better,” which, given the times, may be a bit too optimistic. Nevertheless, this enjoyable recording puts a new spin on savoring these pop music gems and casts them in a fresh and refreshing light.”