in Baltimore, Maryland Bryan Anderson first performed in Atlanta with
Drawing Lines (pop/rock) and The Will Culbreath Project (a popular
jazz quartet). The combination of both styles showcases Bryan's stand
between two lines. Previous albums are Without The Words, Playtime and
Spice. Listening to the music of bass player Bryan Anderson one
attribute comes into my mind: "authentic". There is no way
to pigeonhole his music to one style. Be prepared for the unusual.
It's not only the title Beaufort
Avenue or the cover which has a certain atmosphere. The album starts
with Kick It. Veteran studio
session musician John Rekevics impresses with his perfection on flute
and sax while the arrangement of the organ sounds raw like the music
of the 60's.
The title tune Beaufort
Avenue reminds me on sax interpretations of Grover Washington
Jr. or Kirk Whalum. This is the classical approach to the
melody we know from the time of Motown Records. John Rekevics' sax
speaks to the heart not the brain. Allen Phillips' chords on organ
underline this conjured mood of the past.
Evan Marks best known as guitarist of
the group Fattburger revives on Summer School
Wes Montgomery's unforgettable sound. Bryan answers him on the right
side and some sparkles are added on piano by Victor Shekhtman.
Cafe sounds like an alteration of Grover Washington's Just
The Two Of Us. Victor Shekhtman on piano and Mitch Manker's muted
trumpet are really smoking in this jazz café.
is a further sax masterpiece of maestro John Rekevics. Also impressive
the keyboard solo and Mitch
Manker's excellent trumpet performance. He is currently performing
and recording with Third Force (Gentle Force, Driving Force). He has
also played and recorded with Fattburger (Living
In Paradise, On A Roll) and Evan Marks.
All songs of this
album were written, arranged and produced by Bryan Anderson. He also
mixed and recorded most of these tunes. Take for example the short
tune Pleasure. It was perfectly
tailored for John Rekevics'
The melancholic Two
Steppin mirrored by Mitch Manker's muted trumpet is
changing its character and tempo like a chameleon.
Bryan can also follow a simple
melody-line like in Eyes From Heaven.
With some tones played with synth-harp and bass he creates an own
atmosphere. A good melody (even
if it doesn't have words) is often one that we could hum.
The swelling tone of John Rekevics'
sax is spiritualizing the rising sun of a Morning
Breeze. Some reggae rhythm, some knocking on wood and
spoon, this is the ease and freshness of the South.
On most tunes like on Swayin John Rekevics'
sax sets his marks. Although Byran Anderson is a bass player this is
not a bass album like those of Marcus Miller, Victor Wooten or Brian
Bromberg. There is only one exception. On the final Smiling
On Us Bryan lets his bass sing the lead melody.The constant
repitition of the phrase is somehow hypnotic.
Bryan Anderson's album "Beaufort
Avenue" is an acoustical jewel and will certainly find its fans.