Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Jason Miles/Kind of New: Black Magic (Ropeadope)

A review of the keyboardist's second album under the Kind of New moniker

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Jason Miles/Kind of New, Black Magic
The cover of Black Magic by Jason Miles/Kind of New

Like his first album under the Kind of New moniker, a 2015 collaboration with trumpeter Ingrid Jensen, Jason Miles’ Black Magic is all about steep, deep jazz-funk groove-making, catchy melodies, and no-holds-barred solo romps, with more than a few nods to the brand of ’70s electric jams associated with the pianist/keyboardist’s onetime employer, Miles Davis. Unlike the earlier disc, the new one is more of a band effort, featuring a group he recently led on a tour of Europe: saxophonist Jay Rodriguez, trumpeter Philip Dizack, bassist Reggie Washington, and drummer Gene Lake.

Intermingling four new studio tracks with pieces recorded live at Nublu in New York City, the project includes nine tunes written or co-written by the leader. Generally speaking, the headiest, most energetic performances are on the second half of the disc, starting with an infectious 11-minute take on Miles Davis’ “Jean Pierre”; spiked throughout with Washington’s urgent, rubbery bass guitar work, it benefits from unfettered improvisations by Dizack and Rodriguez on soprano. Then come three that were also heard on the 2015 album but are more revved-up here. “Ferrari” is another showcase for soprano, and has Dizack strafing the stratosphere; Miles’ twisty electric piano lines and Rodriguez’s bass clarinet take center stage at different times on “Kats Eye”; and Lake explodes over the repeated riff at the end of closer “Street Vibe.”  

Black Magic opens on a more laidback note with the title track, its sturdy R&B-ish grooves overlaid with mellow horn and keyboard textures and Miles’ searching piano solo. The even silkier “The Other Side of the World” takes a similar approach. Those two, along with the synth-laden “Wolfedelic,” make apt warmups for the high-energy groove sessions that follow.

Preview, buy or download Black Magic on Amazon!


Artist’s Choice: Jason Miles on Electric Keyboards

Philip Booth

Philip Booth is a longtime arts journalist and bass player based in Florida. Formerly the pop music critic for the Tampa Tribune, he has contributed to many national publications, recently including the Washington PostJazziz, and Relix. His byline also has appeared in DownBeat, Bass Player, Billboard, Variety, Spin, Rolling Stone, and several academic journals. Sharkskin, the second album from his long-running band, Acme Jazz Garage, has aired on radio stations across the U.S.