Jason Hollar Jazz Quartet CD Review

JASON HOLLAR JAZZ QUARTET
Featuring Eric Gunnison,
Mark Raynes, and Andrew Vogt
Cadillac Jazz Records

By Tom Ineck, Lincoln, NE
Berman Music Foundation

Andrew Vogt, Saxaphone Technically speaking, bassist Jason Hollar fronts this session, but saxophonist Andrew Vogt makes such an awesome entrance with his debut recording that his significance in the project cannot be overstated.

Vogt, who spent several years impressing Lincoln jazz fans with his early ability as an improviser, plays alto, tenor and baritone saxophones and clarinet in a tour de force display. He also penned four of the 10 tunes. Hollar composed five tunes and arranged the lovely “How Odd of Love,” with a melody written by his grandmother, Evelyn D. Hollar, in 1940.

Besides Vogt’s formidable playing, it is the quartet’s soulful rapport that sets this recording above so many others. It is playing with a heart and not just a serious set of chops. That becomes apparent from the opener, “Beam Rocks,” Hollar’s funky variation on Eddie Harris’ “Cold Duck Time.” Pianist Eric Gunnison and bassist Hollar create a churchy groove with drummer Mark Raynes keeping the infectious rhythm while Vogt wails over it.

Hollar’s “Blues for Abner” places the bassist in a prominent spotlight, but Vogt and Gunnison also contribute well-developed solos. “Apmonia” is a somewhat melancholy Vogt composition bursting with energetic and imaginative sax statements. Never too far from the roots, the quartet turns to Hollar’s “Mo’ Money Blues” for a swinging workout.

“Daeyada” is a clever Vogt tune with a bouncy melody stated by the composer on clarinet. It then settles into a bluesy shuffle groove perfect for Vogt’s endless variations. Gunnison also delivers an inspired solo on the changes. More subtle, but still bluesy, is “A Little Pick Me Up,” Hollar’s mid-tempo romp.

Switching to baritone sax, composer Vogt returns with “Viola’s Groovy Fruit Stand,” a whimsical tune set to a raggedy reggae beat. Hollar’s waltz, “Like We Used To,” is the hands-down winner for most beautiful ballad on this set. Vogt and Gunnison play it pretty straight in their solos, never straying too far from the lilting melody.

But Vogt returns with a vengeance on his quirky tune “Heavy Gravy,” with solid support from the rhythm section. His audacious performance throughout this recording begs the question, “How soon will Andrew Vogt have a recording as leader of his own group?” It’s only a matter of time.





	Jason Hollar Jazz Quartet CD Review JASON HOLLAR JAZZ QUARTET Featuring Eric Gunnison, Mark Raynes, and Andrew Vogt Cadillac Jazz Records By Tom Ineck, Lincoln, NE Berman Music Foundation Technically speaking, bassist Jason Hollar fronts this session, but saxophonist Andrew Vogt makes such an awesome entrance with his debut recording that his significance in the project cannot be overstated. Vogt, who spent several years impressing Lincoln jazz fans with his early ability as an improviser, plays alto, tenor and baritone saxophones and clarinet in a tour de force display. He also penned four of the 10 tunes. Hollar composed five tunes and arranged the lovely “How Odd of Love,” with a melody written by his grandmother, Evelyn D. Hollar, in 1940. Besides Vogt’s formidable playing, it is the quartet’s soulful rapport that sets this recording above so many others. It is playing with a heart and not just a serious set of chops. That becomes apparent from the opener, “Beam Rocks,” Hollar’s funky variation on Eddie Harris’ “Cold Duck Time.” Pianist Eric Gunnison and bassist Hollar create a churchy groove with drummer Mark Raynes keeping the infectious rhythm while Vogt wails over it. Hollar’s “Blues for Abner” places the bassist in a prominent spotlight, but Vogt and Gunnison also contribute well-developed solos. “Apmonia” is a somewhat melancholy Vogt composition bursting with energetic and imaginative sax statements. Never too far from the roots, the quartet turns to Hollar’s “Mo’ Money Blues” for a swinging workout. “Daeyada” is a clever Vogt tune with a bouncy melody stated by the composer on clarinet. It then settles into a bluesy shuffle groove perfect for Vogt’s endless variations. Gunnison also delivers an inspired solo on the changes. More subtle, but still bluesy, is “A Little Pick Me Up,” Hollar’s mid-tempo romp. Switching to baritone sax, composer Vogt returns with “Viola’s Groovy Fruit Stand,” a whimsical tune set to a raggedy reggae beat. Hollar’s waltz, “Like We Used To,” is the hands-down winner for most beautiful ballad on this set. Vogt and Gunnison play it pretty straight in their solos, never straying too far from the lilting melody. But Vogt returns with a vengeance on his quirky tune “Heavy Gravy,” with solid support from the rhythm section. His audacious performance throughout this recording begs the question, “How soon will Andrew Vogt have a recording as leader of his own group?” It’s only a matter of time.