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Topaz is a contemporary jazz tenor saxophonist who in some circles is an unknown and in others a legend. In a sense playing retro music that harks back to the late-'60s and early-'70s seminal jazz-rock fusion era, Topaz is more readily associated with the modern jam bands à la Medeski, Martin & Wood. Both aspects are prevalent in his music, played with a large ensemble fronted by a horn section and spurred on by electric keyboards and a middle core funk beat. Clearly one who has heard his share of Sonny Rollins, John Coltrane, and Hank Mobley, Topaz himself has a refined approach, not overblown or histrionics-driven, but chooses to play a role in his band that lends to the overall sound that is unified and complete in many ways. Though the signposts of the Miles DavisBitches Brew, Mwandishi, and Jazz Crusaders bands are quite evident, Topaz is playing the music with his own overview of that bygone but still vital era. Donald Byrd's 'The Emperor' kicks things off with wah-wah guitar by Tewar, a breezy horn chart, and Fender Rhodes piano courtesy of Ethan White. A 'free your mind' vocal chorus informs you that 'Let It Go' has roots in the funky psychedelic music of the '70s, surrounding a Brecker Brothers or Jazz Crusaders trombone-led horn chart. The long title track really shows where Topaz is coming from, with spooky organ, light funk, and developed horn lines borrowed straight from the Miles Davis classic 'Shhh...Peaceful.' 'Peyote Eyes' is parallel to what the Cinematic Orchestra does, with soulful organ from Oliver Von Essen, a pop vocal line sung by Rozz Nash, languid refrains from strings, and a lap steel guitar. There's rock & roll meeting the sitar on 'Rez,' and the 12-minute 'Dharma' is a terrific piece of music, with a lengthy free intro, long tones and spacy incursions, and a fast and really beautiful middle section with breakbeats. It seems Topaz has also listened to his share of Julian Priester's ECM LP Love, Love, employing trombonist Squantch (yes, that's his stage name) and trumpeter Takuya Nakamura to lead the band with him in a formidable triad full of restrained power, grace, and witty repartee. If you are not hip to Topaz, it's time to get up to speed, for this CD is a portent of great things to come as he affixes his brand of jazz to the youth-oriented marketplace.

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Title/ComposerPerformerTimeStream
1 Topaz 07:59 Amazon
2 Topaz feat: Matt Hilgenberg / Christian Urich 07:24 Amazon
3 Topaz 11:44 Amazon
4 Topaz 05:11 Amazon
5 Topaz 05:12 Amazon
6 Topaz feat: Rozz Nash 05:50 Amazon
7 Topaz 12:16 Amazon
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  1. Scott Chasolen, also a member of ulu, joins Topaz' crew on the Rhodes organ; there's not much to this song other than Chasolen's soothing solo and Topaz' saxophone musings, but the atmosphere is just right. 'Dharma,' the last selection, starts off with a free, avant-garde feel, but eventually reels it in with a hip-hop-inspired drum pattern.
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  4. Another One Bites The Dust - Queen Anyway You Want It - Journey A Little Bit Me, A Little Bit You - The Monkees Back In The USSR - The Beatles Bad Love - Eric Clapton Ballad of John & Yoko – The Beatles Beginnings - Chicago Before You Accuse Me - Eric Clapton Best.

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Like a growing number of artists, Topaz chose to forego the traditional route of begging major labels for binding, long-term record deals; instead, he produced, manufactured, and distributed his debut effort The Shrine mostly by himself. The sound of The Shrine is totally modern, but also has a feel reminiscent of a Roy Ayers Ubiquity album from the early '70s. There's lots of soul in the selections on The Shrine, plus a steady and consistent groove. Recorded in a two-track format, the sound quality is less than stellar only to those listening very closely, lacking only a little depth. The album opens with the title track, whose feel is similar to Sade. Squantch's trombone solo is fluid and right in the groove (not an easy task with a trombone); Ethan White follows on a Wurlitzer electric piano with a sparse solo that fits the rhythmic strut. Topaz closes the tune with a lyrical, well-executed solo, thereby setting the precedent for the rest of the songs on The Shrine. A key member in another hot New York City band, ulu, Justin Wallace plays the bass parts on this album; he mostly plays electric, but uses acoustic on 'San Joaquin.' Phelim White plays the drum kit on all songs except 'Tress-Cun-Deo-La' (a Joe Henderson tune), 'Dharma,' and 'Goin' Home'; the latter two feature the talented Ze Ze Arad, who exhibits a gentle jazz styling. 'Live at Bell' was recorded at a popular New York City venue called the Bell Café. Scott Chasolen, also a member of ulu, joins Topaz' crew on the Rhodes organ; there's not much to this song other than Chasolen's soothing solo and Topaz' saxophone musings, but the atmosphere is just right. 'Dharma,' the last selection, starts off with a free, avant-garde feel, but eventually reels it in with a hip-hop-inspired drum pattern and Ethan White's intense keyboard dramatics, which interestingly revolve around a merengue progression that gives the song a Latin flavor. Watch for the artist named Topaz.

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Title/ComposerPerformerTimeStream
1 TopazAmazon
2 TopazAmazon
3 TopazAmazon
4 TopazAmazon
5 TopazAmazon
6 TopazAmazon
7 TopazAmazon
8 TopazAmazon
9 TopazAmazon

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blue highlight denotes track pick