| Jazz |
It is true that I am easily captivated by albums with a strong compositional identity, and this one is no exception. It feels almost like the soundtrack to an imaginary Hollywood film, as if the composer had drawn inspiration from the finest traditions of jazz and classical music, with echoes of Prokofiev. There is an absolute richness to this unrestrained musical writing, an intricate attention to detail in the arrangements that makes for an enthralling listening experience. One cannot help but revel not only in the orchestral sections but also in the brilliance of Jekabson and his magical trumpet.
This music takes me back to my years at the conservatory in France, when I was still a child. Professors would come and go, playing us recordings of great orchestras, speaking of composers and legendary musicians, prompting us to share our impressions. It took immense courage to stand up and speak before these figures of authority, who seemed to possess absolute knowledge. Summoning all my resolve, I would rise and express my thoughts; only to find them given little consideration. They spoke of Bartók; I longed to discuss Gershwin. But no matter. That very feeling of defying conventions, of following one’s own artistic path regardless of the rules, is precisely what I sense in these compositions; a deeply personal universe, crafted with singular vision, and for me, a true source of joy.
Jekabson is a remarkable artist, at least in my eyes; an arranger and composer of extraordinary versatility. He has written for symphony orchestras (San Francisco Symphony, BBC Radio Orchestra, Utah Symphony, and the Coltrane: Legacy for Orchestra project), for vocalists (Madeleine Peyroux, Ani DiFranco, Jane Krakowski, Jackie Ryan, Kenny Washington, Madeline Eastman), and for jazz ensembles (The Daggerboard – Erik Jekabson Orchestra, the Erik Jekabson String-tet, and his own Electric Squeezebox Orchestra, which holds a monthly residency at Berkeley’s Jazzschool). He also co-composed the score for the documentary Exiled.
As a trumpeter, he has toured with John Mayer, Galactic, and Illinois Jacquet, and has performed and recorded alongside luminaries such as Taj Mahal, Maceo Parker, Boz Scaggs, and Kermit Ruffins. With eight albums to his name; four of them released under his own label, Jekab’s Music—he has also produced three records with the Electric Squeezebox Orchestra.
An ensemble as substantial as The Daggerboard could easily become heavy-handed, sacrificing groove for density. Yet here, everything is meticulously thought through, refined, and honed to perfection. Instrumental solos are sparingly woven into the fabric of the music, appearing at just the right moments. The rhythm section is as impressive as the rest of the instrumentation, and Jekabson’s command over the full ensemble is nothing short of masterful. His artistry is undeniable.
Splitting his time between performance and education, he teaches at several universities in the San Francisco Bay Area and currently directs the Young Musicians Program at the California Jazz Conservatory. Yet above all, he is revered as a bandleader and a tireless composer, frequently collaborating with jazz greats such as vocalist Kenny Washington and percussionist John Santos. His affinity for New Orleans rhythms is evident in Crescent Boulevard (2010), featuring Santos and saxophonist Dayna Stephens, followed in 2012 by Anti-Mass, an ambitious project with Stephens and violinist Mads Tolling, made possible by a grant from the San Francisco Friends of Chamber Music and a commission from the de Young Museum and Intersection for the Arts.
This album, in my view, is indispensable; whether for jazz enthusiasts seeking something unique, music students eager to witness the fruits of a deep musical education, or simply for those who appreciate the pure pleasure of hearing music executed to perfection.
Thierry De Clemensat
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
Editor for All About Jazz
PARIS-MOVE, March 26th 2025
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