Wade Baker fits the Profile - A Jazz Half CD Review
Wade Baker – Profilin’
Wade Baker – Trumpet
Aaron Jacobs – Bass
Brian Bachelor-Glader – Piano & Keys
Rob Dixon – Saxes
Anthony Lee – Drums
Jeremy Cunningham – Drums
Eric Hergenroether – Drums
Phil Tipton – Drums
A common misconception in the art of music is the growth of a musician being measured by the number of record sales. While sales are obviously welcomed, and among the goals of a full-time musician for having a roof and food on the table, the true growth of a musician is measured by the quality of their music. From project to project, the intent is
to trend upward. This can’t be done without paying complete attention to detail.
In Profilin’, Jazz Trumpeter Wade Baker does just that. In this 10-tune project, he wears multiple hats as musician, writer, and producer. His intent on quality and detail is heard loud and clear when teaming with the Indianapolis-based Static Shack Studios and partnering with Dr. Jeff Harper and Cynthia Harper (Easter Bunny Records). Profilin’ is somewhat a “Rite of Passage” for Baker, showcasing a palette of tremendous skill and sound rightfully comparable to the music of any NYC-based jazz artist. This is achieved with the immeasurable help of Aaron Jacobs on Bass, Brian Bachelor-Glader on Keys, Rob Dixon on Saxes, and Drummers Anthony Lee, Jeremy Cunningham, Eric Hergenroether, and Phil Tipton (across various tracks).
The springy I Can Explain starts us off with a very tight rhythm section foundation. Wade and Rob engaging in a consistent and cheerful melody. The title track, Profilin’ is a swinging tune. From the opening note, Wade and Rob are locked into the precise melody with intermittent, almost teasing anecdotes from BBG on the keys. Halfway through, his organ solo hits a groove reminiscent of the height of the instrument’s use [for jazz] in the 50’s and 60’s.
Turning Tricks begins with a slight, psychedelic feel to it, with duo rhythms between Aaron and BBG. The staccato melody suggests a hint of funk to this tune, with solos from Rob’s sax, and BBG’s bending notes on the keys, solidifying it.
On a personal note, I was very fascinated with Ludlow Fiasco. From what I can only assume is Wade’s "shout-out" to the popular Clifton district, this number has a very straight-ahead vibe to it. Wade enters his solos with authority as Aaron takes his bass for a walk. The foundation of the rhythm section is nothing short of solid. With a deliberate tempo from start to finish, the group is clearly on a mission. The sound commands presence without becoming overbearing; and, (at the risk of revealing my preference for the straight-ahead sound), this has to be the cleanest delivered tune on the CD.
Other numbers such as the seductive 1900, and the closing number of the steady-sounding Minotaur surges forward in the same vein of quality and detail, and you won't be disappointed if you picked up a copy for your own enjoyment (available on iTunes).
There are so many details involved when it comes to putting together a studio-recorded CD. With Profilin', if I had to use one word to describe the detail I believe Wade Baker focused on, I would have to say “Balance”. Overall, this element was visible from the solos, to the varying tempos, to the crescendos and decrescendos. Baker has aimed the arrow of
quality at the target and hit the bullseye.
- jh
Wade Baker – Trumpet
Aaron Jacobs – Bass
Brian Bachelor-Glader – Piano & Keys
Rob Dixon – Saxes
Anthony Lee – Drums
Jeremy Cunningham – Drums
Eric Hergenroether – Drums
Phil Tipton – Drums
A common misconception in the art of music is the growth of a musician being measured by the number of record sales. While sales are obviously welcomed, and among the goals of a full-time musician for having a roof and food on the table, the true growth of a musician is measured by the quality of their music. From project to project, the intent is
to trend upward. This can’t be done without paying complete attention to detail.
In Profilin’, Jazz Trumpeter Wade Baker does just that. In this 10-tune project, he wears multiple hats as musician, writer, and producer. His intent on quality and detail is heard loud and clear when teaming with the Indianapolis-based Static Shack Studios and partnering with Dr. Jeff Harper and Cynthia Harper (Easter Bunny Records). Profilin’ is somewhat a “Rite of Passage” for Baker, showcasing a palette of tremendous skill and sound rightfully comparable to the music of any NYC-based jazz artist. This is achieved with the immeasurable help of Aaron Jacobs on Bass, Brian Bachelor-Glader on Keys, Rob Dixon on Saxes, and Drummers Anthony Lee, Jeremy Cunningham, Eric Hergenroether, and Phil Tipton (across various tracks).
The springy I Can Explain starts us off with a very tight rhythm section foundation. Wade and Rob engaging in a consistent and cheerful melody. The title track, Profilin’ is a swinging tune. From the opening note, Wade and Rob are locked into the precise melody with intermittent, almost teasing anecdotes from BBG on the keys. Halfway through, his organ solo hits a groove reminiscent of the height of the instrument’s use [for jazz] in the 50’s and 60’s.
Turning Tricks begins with a slight, psychedelic feel to it, with duo rhythms between Aaron and BBG. The staccato melody suggests a hint of funk to this tune, with solos from Rob’s sax, and BBG’s bending notes on the keys, solidifying it.
On a personal note, I was very fascinated with Ludlow Fiasco. From what I can only assume is Wade’s "shout-out" to the popular Clifton district, this number has a very straight-ahead vibe to it. Wade enters his solos with authority as Aaron takes his bass for a walk. The foundation of the rhythm section is nothing short of solid. With a deliberate tempo from start to finish, the group is clearly on a mission. The sound commands presence without becoming overbearing; and, (at the risk of revealing my preference for the straight-ahead sound), this has to be the cleanest delivered tune on the CD.
Other numbers such as the seductive 1900, and the closing number of the steady-sounding Minotaur surges forward in the same vein of quality and detail, and you won't be disappointed if you picked up a copy for your own enjoyment (available on iTunes).
There are so many details involved when it comes to putting together a studio-recorded CD. With Profilin', if I had to use one word to describe the detail I believe Wade Baker focused on, I would have to say “Balance”. Overall, this element was visible from the solos, to the varying tempos, to the crescendos and decrescendos. Baker has aimed the arrow of
quality at the target and hit the bullseye.
- jh
posted by The Jazz Half at
10:51 PM
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