#jeff oster

(via https://www.youtube.com/watch?v=3TY1y_tJjak)

Jeff Oster’s New Age Ambient Funk – Listen To The Horn

Jeff Oster is the coolest kid on the block with his fresh flavors of new age ambient jazz and the soothing sounds of his new album NEXT.

Next is about claiming who I am, and who I’ve always wanted to be,” says Jeff. “It’s why I live. It takes strength and power to step out into the unknown. Not everyone opens the door and takes the risk to try something new, something you’ve dreamed of for…

Dub Mantra Sangha Album Release! Yoshi’s Oakland 10/26/15

http://www.yoshis.com/event/838391-joss-jaffe-album-release-oakland/

Joss Jaffe, Silvia Nakkach, Sophia Mae Lin, Jeff Oster, Val Serrant, Mark Gorman, Dave Allen, Montino Bourbon, Tim Donlou

Jeff Oster’s Next is either exactly the album you’re looking for, or not at all the one you want to hear.  Across twelve instrumental songs, Oster lays down some of the smoothest trumpet sounds you’re ever likely to hear.  But Oster doesn’t play things strictly by the book in that this isn’t just a smooth jazz album; it has a lot of ambiance elements to it which make it almost fall into a new age sound from time to time.  Certainly there are some who are going to find this kind of album boring, due to its large emphasis on atmosphere and mood, but it does these things so extremely well that it’s a mandatory listen for fans of the genre.

The title track opens the album with a strong bassline and the aforementioned, smooth tones of the trumpet.  The percussion track is kept simple to start as are the keyboards which function to set a dark, late night kind of setting.  Legendary guitarist and producer Nile Rodgers contributes guitar to the track, and it’s interesting to hear him play in a more subdued fashion.  He does a wonderful job in maintaining the mood while simultaneously spicing up the track.  As the song continues it builds up in sound, allowing the drums to perform some tight fills while Oster’s trumpet cries away.

“Night Train to Sofia” continues this mood but tones down the drums and ups the ante on the bass.  Almost like a continuation from “Next,” the late night vibe is present and accentuated by the combination of the trumpet and keyboards.  There is a bit of a vocal track in the form of a small choir like effect that once again contributes more to the atmosphere than it does the actual melody of the song.  The bass really makes it all memorable though, with the slap effects giving a small dose of funk to the mix.

In an example of how Oster can make a song develop, “Gardens of Varanasi” spends its first half like the songs that precede it, but past halfway, it drastically changes.  Suddenly the trumpet becomes a bit louder, the keyboards go from atmospheric backing to playing a piano melody, and a simple percussion track comes in to give it all a bit more momentum and kick.  It’s enough to give the song its own identity without breaking away from the general mood of the album.

One of the more intriguing song choices is the inclusion of a cover of the popular Bonnie Raitt classic, “I Can’t Make You Love Me.”  Oster is able to accomplish with his trumpet what Raitt was able to accomplish with lyrics and voice.  Even without knowing the words to the song, you can sense the longing, pain, and heartache within Oster’s performance.  The backing keyboards help establish the somber tone, but this is one of the instances where Oster steps out of the background atmosphere, into the forefront, and gives a performance that goes well beyond the ambient, new age tones of the other tracks.

In similar fashion, “On Mother’s Day” is another beautifully constructed piece that goes more towards the ambience side of things, but with a great deal of emotion.  Along with the trumpet, softly played guitar permeates the piece.  It’s a shorter number, but it does a lot in under three minutes to shift the tone of the album slightly and evoke different emotions.  This is something the closing track, “And We Dance” does, but over a longer period of time.  Acoustic guitar features prominently in both of them, and the way it interacts with Oster’s trumpet is remarkably serene.

During the second half of Next, Oster embraces a bit more energy in his music, starting with the fantastic, “Avenue D.”  Along with some string sounds we get the chiming of keyboards, a rattling percussion track, and awesome bass playing.  The drums pick up fantastically, giving a stellar jazz performance while the trumpet continues to alternate between being atmospheric and carrying the melody; ultimately the song is worth listening to for the rhythm section alone.

Finally of note is the penultimate number, “Heroes.”  Unique to this track alone is the saxophone stylings of Jeff Taboloff.  This is easily the most energetic song here with strong, synthesized percussion in the opening, piano like keyboards, and a gorgeous trumpet soundscape.  In the song’s second half, the sax comes into its own, laying things on so smoothly it’s goosebump inducing.  But the real greatness of the song lays in the synergy between the sax and trumpet; two talents combining to make something bigger than the both of them.

Ambience isn’t a thrilling genre of music, but Jeff Oster almost makes it that way.  This is, without exaggeration, one of the best records of jazz ambience you’re ever likely to hear.  The trumpet that holds Next together creates atmosphere, mood, and melody in exquisite fashion.  If this album doesn’t make you a fan of smooth, quiet, jazz; nothing ever will.  And to those lucky ones who do embrace that genre of music, congratulations, you’ve reached musical nirvana.