Neil Adler, Emi’s Song Review

by Brice Boorman

Neil Adler’s album, Emi’s Song, showcases his versatility and deep musical understanding of various styles. Rooted in the eclectic sounds of Detroit, Neil’s journey through Motown, jazz studies at Stanford, and diverse musical explorations have culminated in a rich mix of R&B and jazz idioms that seamlessly blend together in this project. Collaborating with Jeff Buenz on six-string bass and Akira Tana on drums, with a guest appearance by Carlitos Medrano on congas, Adler creates an album that is spontaneous and varied in its styles and instrumental sounds.

Emi’s Song opens with the title track, a composition by Adler; the song is a gentle introduction to the album, characterized by its lyrical melody and delicate interplay between the trio. Adler’s Rhodes and harmonica playing are articulate and expressive, setting the tone for the album’s exploration of various jazz styles. The trio’s synergy is evident from the start, too, with Buenz’s bass lines providing a solid foundation and Tana’s drumming adding subtle yet effective rhythmic nuances.

The album’s second track, “Besame Mucho,” transports the listener to a different world with its classical introduction by Adler that flows into a samba and Afro-Cuban feels. Adler’s interpretation of this classic tune is passionate and melodic. The trio’s cohesive performance highlights their ability to communicate while maintaining a fluid and engaging sound. The authentic Afro-Cuban flavor enriches the track’s texture and enhances its danceable quality.

“Yearnin'” by Oliver Nelson is another style of jazz from the hard bop period. The trio’s rendition of this lesser-played standard is imbued with a six-eight blues feel. Adler’s piano solos weave seamlessly with Buenz’s melodic bass lines, while Tana’s drums add accents, all working together to complement the overall mood of the piece. The performance of the melody arrangement on piano and harmonica is excellent and captures the original timbers.

Adler’s “Blues for McCoy” is a tribute to the legendary McCoy Tyner. This original composition captures the essence of Tyner’s style while infusing it with Adler’s unique voice. Adler also shows his modern piano style by interpreting Herbie Hancock’s “Tell Me a Bedtime Story.” The trio’s performance of these songs are dynamic and expressive, showcasing their ability to communicate another style of jazz grounded in post-bop and modern jazz.

The Bill Evans medley, comprising “Remembering the Rain,” “Only Child,” and “My Bells,” is a beautiful homage to one of jazz’s most influential pianists. Adler’s delicate touch and emotional depth shine through in these pieces, capturing Evans’ intertwining voice leading in spirit while adding his interpretative flair. This medley serves as a bridge, connecting Adler’s compositions with the works of other great composers featured on the album.

Jimmy Rowles’ “The Peacocks” is a hauntingly beautiful piece that features Adler’s warm chromatic playing and allows the Rhodes-led trio to explore more moody textures. Adler’s ethereal harmonica lines float over Buenz’s grounding bass and Tana’s shimmering cymbal work, as Adler Rhodes creates a serene and contemplative atmosphere. This track exemplifies the trio’s ability to create clear musical statements combining R&B and jazz elements.

On “Nelson’s Son,” Neil Adler blends folk jazz and Latin jazz in his duet with Carlitos Medrano on congas. Adler’s piano playing showcases yet another style of jazz as its musical influence, seamlessly weaving together the earthy, narrative quality of folk-jazz with the vibrant, rhythmic vitality of Latin jazz. His touch on the keys exudes a soulful depth, drawing from the rich traditions of storytelling in folk music, while his rhythmic sensibilities are aligned with Medrano’s dynamic conga patterns. This performance highlights Adler’s versatility and deep understanding of diverse jazz styles.

In the tracks “Tenderly/That’s All” and “Los Tres Golpes,” Adler showcases his dual talents on piano and chromatic harmonica. In “Tenderly/That’s All,” Adler’s piano exudes a sensitivity, while his harmonica adds a soulful layer. “Los Tres Golpes,” typically performed as a danzón or contradanza, features a vibrant exploration of Afro-Cuban rhythms, with Adler’s piano driving the piece forward and his harmonica weaving in and out, adding rhythmic complexity and cultural richness. These performances highlight Adler’s versatility and deep understanding of diverse jazz styles, seamlessly blending lyrical and rhythmic elements.

In “Century Rag,” Adler brings yet another facet of his jazz exploration with a solo piano performance that pays homage to the ragtime tradition. This track highlights Adler’s technical skill and deep understanding of early ragtime jazz styles. His performance captures the syncopated rhythms and playful melodies characteristic of ragtime, bringing a sense of joyous nostalgia to the album.

The album’s final track, “Donna Lee,” is a brief yet exhilarating rendition of the Charlie Parker classic. Performed in four keys, this track shows Adler’s technical skill on the chromatic harmonica. The shifts in keys add an element of surprise and excitement, as does Adler’s bebop phrasing on the harmonica, ending the album on a high note.

Neil Adler’s Emi’s Song is a celebration of jazz’s diverse idioms and the trio’s musicianship. Adler’s compositions and interpretations of standards seamlessly fit into the flow of the album, showcasing his ability to honor the legacy of great composers while adding his distinctive voice. The album’s varied styles and clear musical statements make it a compelling listen.