Adam Deitch Quartet

Roll the Tape

Golden Wolf

Drummer and composer Adam Deitch is best known as the leader of the jazz/funk/jam band Lettuce, but he leads his soul-jazz quartet for the second time here on Roll the Tape. This is organ-oriented music featuring organist Wil Blades and two of Deitch’s Lettuce bandmates, Eric ‘Benny’ Bloom on trumpet and Ryan Zoidis on saxophone. Guitarist John Scofield, who figured more prominently in the group’s debut, Egyptian Secrets, guests on the lead single “Mushroom Gravy.” Given the proclivities of these players, who are equally comfortable with funk, hip-hop, breakbeat, and electronica, this is not an ‘old school’ soul-jazz effort but certainly has those threads running through it too. The album has ten originals from Deitch who also produced the album. Unlike the debut which took place in two sessions over five years, Deitch steered an efficient process for this one. He composed and arranged all parts on his home computer, provided demo tapes for the band to learn on the spot and then ‘rolled the tape.’

Kicking off with “Lay It Back,” the chemistry between Deitch and Blades is immediately evident as they conjure a backbeat groove over which the horns stretch out, first in unison and then in individual statements as Blades adds in clavinet to further punctuate the funk. These musicians, Scofield included, all seem to drink from the same well. “Mushroom Gravy” is a nod to Deitch’s Grandma Betty’s chicken mushroom gravy. Scofield, by the way, has been working with Deitch on various projects and guesting with Lettuce for two decades now and, like Eric Krasno, from Soulive (who we’ll get to later) has served as a mentor of sorts to Deitch. There’s a call and response motif in this one first between the organ and horns and later as Scofield reflects some of those same lines in his crisp, liquid solo. Blades leads the group into the title track with its funky staccato rhythms, as Deitch lays down a filthy fat beat over which Blades roams freely, weaving in some psychedelic tinges as he and the drummer sally forth. The horns return, in yet another example of their spot-on rhythmic sense that underlies their unison blowing.

“The Green Light” also has a call-and-response motif stated by the horns and answered by the organist in several refrains before Zoidis, Blades, and Deitch engage in convivial dialogue, handing off to the ever-fiery Bloom for a similar conversation. The full quartet engages in the last couple of minutes with the focus on the leader’s crafty kit work. Not to be confused with the jazz standard “Alone Together,” penned by Arthur Schwartz and popularized by Eric Dolphy among many others, this original from Deitch is the rare ballad, inspired by those lock-in days during the pandemic. The soothing melodies, harmonies, and soaring horns are simply gorgeous, a testament to Deitch’s versatility as a writer and defies any stereotyping of this group as simply a funk or soul-jazz unit. Like “Alone Together,” “Have Faith” begins as a departure from the funk infested grooves with Blades’ gospel, church-like intro but before long the band is channeling Tower of Power with blaring horns, clavinet, and Deitch’s gloriously fat beats.

Like its predecessor, the album includes two “Language Interludes,” a fancy way of saying drum solos but in a serious vein, meant to serve as the way drums were a communication vehicle in ancient Africa. This writer has never been enamored with lengthy drum solos on records, but Deitch has the sense to keep both relatively short at three-and-a-half minutes and he does “say something” each time.

As previously referenced, “Play On Playa” nods to Soulive with its infectious melody and grooves.  It was Krasno and his group that introduced Deitch to organ trio music and shaped his career as well as other members of Lettuce. Both Bloom and Zoidis are riding the groove enthusiastically throughout. “7 Down” begins with emphatic, succinct horn bursts, extends to more sustained melodic lines but never loses that initial infectious riff. Bloom, who is known for his stratospheric excursions intersperses those with side trips to lower register turf in his inventive solo. Blades and Deitch keep the groove flowing until the head resumes in the last couple of minutes, reprising the staccato opening to an abrupt finale.

This is highly joyous music, perfect for the car ride, a party, or just when you feel like you need a jolt of energy. Let’s just call it soul-jazz for this century.  It sounds updated but still has that same enlivening effect.

• Jim Hynes

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