(Music Lab Records, digital, vinyl)
In theory, music is an infinite canvas rendered in 12 tones. In practice, even the broad horizons of “jazz fusion” tend to veer uncomfortably close to jam band excess. Granted, the bar for the former is set exponentially higher for sheer chops, and the demographic for jazz concerts is far less likely to be arrested at the venue. While it may seem unfair to compare powerhouses such as Return to Forever to, well, Twiddle, both aesthetics lean heavy on long, meandering solos.
However, Burlington guitar guru Xander Naylor is something special. In a post-YouTube world full of fretboard technicians replicating the greats, mere chops are not enough to stand out from the pack. You need a vision, a voice. Drawing from a wealth of world music influences and a lifetime of deep genre study, Naylor has carved out a supple but unmistakable style.
Getting dozens of email pitches every day leads to a certain amount of cynicism in a music critic. The best part of this job is proving that lazy, jaded reflex wrong. When I saw PR copy for Naylor’s new album about “blending” rich traditions such as “Americana, Country, and Jazz,” I was only expecting some bloodless adult contemporary snoozefest.
Instead, Amber kept me riveted. The album marks the debut of jazz fusion trio Breathwork, Naylor’s latest side project. The opening title track sets the tone as a lovely, low-key ballad that unfolds into surprising depths. Pat Markley’s bass work is a marvel of restraint, endlessly creative but never obtrusive. But Ethan Snyder’s dynamic ingenuity on the drums is perhaps the band’s greatest weapon.
After many spins, “Forgotten Lovers” has emerged as my favorite cut. More than anything else here, it nails the mission statement, blending classic Blue Note Records and Nashville to perfection. The melody is so haunting I assumed it was an old standard, but it turns out to have been written by Markley, who has sadly since departed the band.
The album’s undeniable centerpiece is the slow burn of “Old Man,” an instrumental arrangement of Neil Young’s 1972 classic. It’s one of the best versions of the song I’ve heard from anyone, a warm mix of Leo Kottke’s skill and Lyle Lovett’s cool.
It’s followed by “Tuffle,” a hard left turn into straightforward rock. The transition felt too jarring upon first listen, but it’s since grown on me. The contrast also enhances the impact of closing track “Benaulim Dawn,” an extended, playful conversation that makes the most of the trio’s experience and range.
Naylor does not lack for accomplishments. In recent years, he’s toured multiple continents, been praised in the pages of Rolling Stone and soundtracked an independent movie, Hayseed. Yet with Breathwork, he and his collaborators have forged something truly special. Whether it’s reuniting with Markley or moving ahead with someone new, the electric ESP interplay between Naylor and Snyder is a revelation that demands further study.
Amber is available on major streaming platforms and on limited-edition vinyl at breathworktheband.bandcamp.com.