Friday, April 12, 2024

MAX LIGHT – CHAOTIC NEUTRAL

Brooklyn based guitarist/composer, Max Light, took 2nd place in the prestigious 2019 Herbie Hancock Institute of Jazz International Guitar Competition (judged by Pat Metheny, John Scofield, Lionel Loueke, etc.) His sophomore recording as a leader, Henceforth (released in 2023), was heralded by The New York City Jazz Record, as “Stunning,” and declared Light as, “one of the most promising young guitarists to arrive on the scene in recent years.” JazzTrail added that, “Max Light is a talented instrumentalist and composer to follow closely, and this well-planned album doesn’t disappoint.” His debut recording, Herplusme (released in 2020), garnered a four star review from UKVibe, who stated, “Herplusme gives the guitarist an excellent platform to showcase his talents and with superb interaction and support from Honor and Willson. The trio work intuitively well together . . .”. Most recently, Light and pianist Julian Shore released Duo, in the summer of 2023, and embarked on a successful tour of Japan. 

Max Light has performed and recorded with Noah Preminger, Christian Sands, Donny McCaslin, Jeremy Dutton, Kaisa Maensivu, Jason Palmer, Jon Gordon, John Ellis, Dan Weiss, Colin Stranahan, and Kevin Sun, among many others. Along with DownBeat Magazine “Rising Star” tenor saxophonist Noah Preminger, Light released Songs We Love in March 2022. Light also appeared on Preminger’s 2019 album, Genuinity, and the saxophonist’s 2020 album, Contemptment. Light was also featured on the subsequent tour of Europe in the Fall of ‘21. The guitarist has appeared on trumpeter Jason Palmer’s seminal 2018 recording, Live at Wally’s Jazz Club: Volume 1-2, and more recently on Yong Lee’s 2021 album, Touch, alongside Walter Smith III. Light is also featured on bassist/composer Kaisa Mäensivu’s recent recording on Greenleaf Music, Taking Shape, and Christian Sands’ Christmas Stories. He also appeared on Kevin Sun’s 2021 release, <3 Bird. 

A CV of this nature doesn’t come together by chance; Max Light, in accordance with his surname, is in fact a beacon on the NYC and global scenes. Not one that warns however, but one that beckons. He is to many of his collaborators and cohorts, “a deep inspiration and ever-warming bonfire in the often challenging journeys of art and life” (as stated by saxophonist Kevin Sun in the album’s liner notes). As a bandleader, exemplified on his new recording, Chaotic Neutral (dropping April 26, 2024 on AGS Recordings), Light also displays the type of leadership that unearths and inspires performances of the highest level from his bandmates. 

Chaotic Neutral is a declaration of Light’s artistic vision, encompassing improvisations that routinely and expertly seek and find peaks, complex harmonic structures and Light’s wonderful melodies. It is modernist jazz in full acknowledgment of its influences, while asserting Light’s penchant for 21st century harmony (“Is It True,” also a highlight for Julian Shore), and rhythmic adventurousness (“Brown Bear”). The album opens with the exuberant urgency and potency of “Pathos.” Then it becomes clear within seconds of “Vals Quartzite” that Light is intent on raising the artistic bar, searching for the zenith of expression, precision, mastery, and beauty. In spite of the technical aspects of playing the guitar that must be dealt with, Light’s fluidity and relentless spontaneity is heard throughout Chaotic Neutral, with his bandmates, pianist Julian Shore, bassist Walter Stinson, drummer Steven Crammer and Caleb Curtis (on Stritch on several tracks) in absolute lockstep with him. Stinson shines on “Times Had,” as does Crammer with a ferocious solo. ‘Wash” is a meditative ballad, featuring Caleb Curtis on Stritch, whose playing shines with Light’s expressions as perfectly as the moon and the stars.

On Chaotic Neutral we hear an artist seemingly at the peak of his powers, and yet still at the start of his creative ascent. It is thrilling to hear his artistry now, and wonder at what the future holds. Chaotic Neutral closes with “Things,” which brilliantly tests the elasticity of a well-worn standard, and exemplifies much of what Max Light is as a guitarist/composer; a towering edifice of talent built on a rock-solid foundation.


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