John Nau

Four Corners

Posi-Tone

Veteran keyboardist, composer, & producer John Nau is new to these pages. Given that his new project Four Corners appears on the Posi-Tone label, you’re probably expecting to see the familiar rhythm section names. However, Nau spends most of his time in film, commercials and television production and my guess is that these accompanying musicians, 21 in total, are sourced mostly from that world. The core group is Nau on piano, Minmoog, B3, and synths with bassist Trey Henry, guitarist, vocalist, and producer Brian Chapman, and drummer John Ferraro.

 First, let’s provide some background on Nau who is a native of San Diego and returns to Posi-Tone almost 30 years later, being one of their first artists in 199t with is album, Undercurrents. Beginning at age 18  he cut his teeth in jazz and rock bands as well as a stint with the San Diego Repertory Theater with Max Roach.  After moving to Los Angeles he became active as a studio musican and band leader, performing globally with such names as Hootie and the Blowfish James Blunt, and Belinda Carlisle. He also led his own groups including Zoo People, Digital Monk, and The Januaries. His film and television work includes four straight years as musical director of the ESPY Awards, the television show Jury Duty, and an Emmy nomination for Outstanding Original Main Title Theme Music for the mini-series The Spoils of Babylon. His film resume includes The House, Anchorman 2: The Legend Continues and several others.

This project though marks the beginning of the label’s 30-year anniversary celebration. The first half of the album is comprised of tunes in development for several years while the focal point is a five part musical suite that chronicles his experiences of backpacking and camping with his family in the Southwestern U.S.

The opener, the gently flowing, breezy “Riffing on a Daydream” is the only tune rendered solely by the core quartet and is based on a simple improvisation that Nau recorded on his phone, obviously greatly embellished since with guitar and synths framing his bright piano.  He likens the simply structured “River Run” to those classic CTI recordings with this one featuring Katisse Buckingham on alto flute and Thom Rotella on guitar as Nau solos gleefully on the MInimoog. The slightly mysterious but at time effervescent “Lupita” features strong bass work from Henry and guest Nick Mancini on the vibes. Finally, the first section concludes with “Kid Art,” described modestly by a Nau as just a simple idea. He layers in both piano and B3, emphasizing ,mostly the latter, with Kara Nau on voice, or vocalese.

The album centerpiece is the Four Corners Suite of which the first movement is “Four Corners/Beautiful And Magnificent.’’ It begins with jolting sound of a radio that soon evolves into a storm at Lake Powell. Nau uses an old tape of his father’s recounting the events of the looming storm and also recording of him during one of his last Thanksgivings, giving thanks. Muscially it is quite involved with Nailah Hunter on harp (later appearing also on “The Butterfly Versus The Wind” and “Wandering.” Doug Nau (presumably his dad) is the voice, while Mark Hollingsworth plays flutes and clarinets as well as devising the string and woodwind arrangements. While not a fan of these voice and radio effects, understandably it’s quite personal to Nau.

“Day Hike” with Mark Visher on flute and soprano sax has a suitable, steady gait and becomes the first of four where the strings are prominent via violinists Christine Wu, Elizabeth Hedman, Ashoka Thiagarajan and Mie Cjhang; the violaists Rodney Wirtz and Leah Katz; and the cellists Ginger Murphy and Garik Terzain. “The Butterfly Versus the Wind” sounds truly cinematic with the strings dominating the score. Nau’s piano represents the butterfly and other instruments the forces of nature. “Wandering” is a aptly contemplative, meditative piece with guests Hunter and percussionist Davey Chegwidden beautifully framing Nau’s searching piano lines.  “Vespers,” a church-like hymn closes. Picture on alone in the woods deep in reverie, giving thanks. This too as a voice, that of Amy Keys in this gorgeous sendoff.

We must also tip our cap to the stunning cover art by Virginia Nau. Surely, this is a family affair. To these ears, the strength of the album clearly lies in the last two pieces of the suite which are transportive.  In all though, Four Corners marks a formidable return to the label for John Nau, and is quite different than their straight ahead jazz offerings.

– Jim Hynes

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