Daggerboard—the collaborative project of trumpeter and composer Erik Jekabson and multi-instrumentalist and composer Gregory Howe—turns its spotlight squarely onto the rhythm section with The Skipper and Mike Clark, dropping March 6 on Howe’s Wide Hive Records. The album’s titular figures are bassist Henry “Skipper” Franklin and drummer Mike Clark, two living legends of jazz whose deep history and near-telepathic chemistry form the core of the record.
Neither Franklin nor Clark is new to the Daggerboard universe. Franklin appeared on the group’s 2022 sophomore effort Daggerboard and the Skipper, while Clark joined the fold on 2024’s Escapement, which also featured Franklin. Beyond the band, the two have shared a musical friendship spanning nearly three decades, a connection that translates into an immediate, wordless understanding. As Clark puts it, “We always could right away play together without saying anything. I love Skipper. He’s a very close friend and a deep musician. His time is so strong.”
That powerful, intuitive groove has never been as central to a Daggerboard release as it is here. Joined by guitarist Dave MacNab, pianist Matt Clark, violinist Mads Tolling, saxophonist Dave Ellis, vibraphonist Dillon Vado, and conguero Babatunde Lea, the band moves through eight Jekabson–Howe compositions clearly shaped around the rhythmic gravity Franklin and Clark provide. From the seamy, crawling opener “Desierto de Tabernas” to the funky struts of “Runnin’ Into One” and “A Pride in the Prairie,” and the mellow melancholia of “Tranquil Blue,” bass and drums define both direction and atmosphere.
Ironically, it’s Franklin’s two contributions—“Tanzanian Skies” and “Ruaha Daybreak”—that feel the most overtly melodic, though there’s sleight of hand involved. “Tanzanian Skies” features one of Franklin’s most rhythmically complex and satisfying solos on the album, while both pieces give Clark ample room to display his virtuosic, conversational kit work. Elsewhere, melodic riches are everywhere. “Changing Emphasis” unfolds with an orchestral sweep, anchored by a tough yet thoughtful tenor solo from Ellis, who also shines on soprano on “Brother Ranelin.” Clark and MacNab paint in subtle hues on “Tranquil Blue,” while Jekabson’s flugelhorn takes center stage on “Street Sheik,” a moody, lyrical ballad delivered with bravura restraint.
Though The Skipper and Mike Clark proudly places bass and drums at its heart, it ultimately plays as a full-band triumph. The album captures Daggerboard at its most focused and confident, balancing groove-forward intent with compositional depth. What emerges is not just a showcase for two masters of time and feel, but a vivid reminder of how deeply rhythm can shape melody, mood, and meaning when the right musicians are in the room.
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