Reggie Young | Steppin’ Up
Album Review: Reggie Young | Steppin’ Up
by Brent Faulkner
Steppin’ Up is standout bassist Reggie Young’s latest music project, released July 5, 2011 on his own label, RGY Entertainment. Steppin’ Up is an exceptional ‘jazz’ effort, but ultimately transcends the confinements of one concrete style of music, shifting between jazz, soul, funk, rock, gospel, and reggae. Young’s restlessness as an artist makes Steppin’ Up such an exciting and worthwhile jazz offering, shedding the clichés and providing an enthralling listening affair throughout its fifty-three minute duration. Featuring a supreme cast of talent including Tasheima Young (vocals), Darren Rahn (tenor sax), Tyrone Birkett (alto sax), and Garnet Walters (keyboards) among others (Chris Morgan, Johnny Ponce and Kyle Scott), Steppin’ Up is a worthwhile addition to any jazz enthusiast’s library. Furthermore, who can resist hearing such a supremely talented bassist treat the bass like a melody instrument? Young gives some of the best a ‘run for their money.’
“Play for Me,” featuring Tasheima Young on vocals, is a sound way to open the effort. Young’s angular melody line on bass works well when played simultaneously with the keyboard line. The production/arrangement is superb, with Young’s prodigious bass work being the ‘cherry on top.’ Young’s vocals are a nice touch, giving “Play for Me” more of an R&B edge than it might have had sans the vocals. Additionally, once the programmed ‘hip-hop’ sounding synths appear, they ‘seal the deal,’ providing a cut that successfully varies timbre and provides more than enough ‘ear candy’ for its listeners. “Funk Avenue,” featuring tenor saxophonist Darren Rahn further accelerates the momentum of Steppin’ Up, with Young continuing to awe with his virtuosic ‘moves’ on the bass; face it, some of his riffs are ‘killer!’ As for Rahn, his saxophone playing is superb, further igniting the spark and, well, ‘steppin’ up!’
“Judgement” is clever, emanating a classic blues/soul sound, further affirmed by the repetition of the line “What you gonna do with judgement.” As always, Young is ‘bad’ (in a good way) on the bass with ever-more creative and breathtaking lines. The programming here - synthesized brass sounds - are perfect, serving as a direct contrast to the ‘old-school’ vibe that otherwise shapes this cut. “Seven Days” continues the upward swing, this time with a clever mixed-meter groove, providing a nice change of pace. The synthesized lines work as well as always, but it is Young’s upper register bass ruminations (think of Jaco Pastorius on Weather Report’s “A Remark You Made”) that help to shape the cut. A solid harmonic progression doesn’t hurt either. “Gumbo” is another worthwhile cut, finding Young serving the capacity of ‘lead bassist’ with synthesized brass playing the role of his support. Garnet Walters shows off his unreal keyboard skills, adding a superb touch of organ. Let’s not leave out the exceptional guitar solo with some great distortion to intensify the sound.
“World Peace” brings another fine contribution from Walters on keyboard once more. The groove is slower, more in the vein of urban music, contrasting the bluesy vibe of “Gumbo.” What more to say about Young? - ‘he’s a beast.’ “Metheny Way,” is a funky contrast to the slower “World Peace” while it’s follow-up “We Believe,” featuring Tyrone Birkett on alto sax, has more of an inspirational vibe about it. While “We Believe” is not overt gospel, the music has a certain reverence about it that epitomizes its spiritual title. The cut is more calm, cool, and collected that some of the more overt selections. Nonetheless, Young and Birkett both shine brightly.
“Champion” is innovative, opening with drum solo. Here, the sound is characteristic of metal or hard-rock, contrasting everything else up until this point. While it is only a brief 1:45, Young digs in his bag of ‘bass tricks’ and still captivates. “It’s Me Again” delves into reggae, accompanied by the usual programming, which never makes the listener weary. “Odyssey Blues” contrasts the overt blues sound of “Gumbo” in favor of a more mysterious, reserved blues, which proves effective. “Downtown” eclipses it, however, with Garnet Walter’s killer keyboard work and Tyrone Birkett’s exceptional alto solo, which overshadows his earlier showing on this effort. “Soul Food” closes the cut on a high note finding Young exploiting the influence of R&B - likely from his time as bassist for Faith Evans & Kelly Price - with a more soulful, nearly over R&B/soul groove.
All-in-all, Steppin’ Up is a music ‘treat.’ There are no misses and even on the cooler cuts, Young continues to captivate through his gargantuan talents as a bassist and musician. Jazz enthusiasts will swoon over this masterpiece by Reggie Young, period; the bass never sounded so good!
Brent Faulkner
The Urban Music Scene
Posted by Administration at 7/18/2011 8:13 AM 
Categories: Video, Urban Jazz, Jazz, Contemporary Jazz
Tags: Jazz Music Videos
Categories: Video, Urban Jazz, Jazz, Contemporary Jazz
Tags: Jazz Music Videos
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