Kenny Reichert - Switch (2024) [Hi-Res]

Falling in love with jazz in high school, Reichert connected with altoist Simpson through Milwaukee’s numerous programs for young artists. After a brief stint at the Berklee School of Music, he decided to move back to Milwaukee, where he completed a degree in economics and spent five formative years in the city’s rich scene playing with Simpson and Drobka under the mentorship of seasoned artists such as trumpeter Russ Johnson and bassist John Christensen.

He also met his future wife Sara D’Ippolito, an accomplished Italian classical guitarist. As a duo they spent the next several years on the road in the U.S. and Europe, moving first to London and later Berlin. Returning to the U.S. in the pandemic, Kenny decided to pursue graduate studies (in music this time) at DePaul University in Chicago, where he initiated a fruitful collaboration with fellow grad student Allgood and began working regularly with Philion and Bradfield in various contexts.

Of the music on Switch, Reichert comments that he was “looking for the tunes to be more open than on previous projects.” The core quartet takes advantage of this right out of the gate on the title track. The melody is intricate, but the simple bass ostinato leaves Simpson and Reichert plenty of room to roam and offers Drobka a solid frame for his expressive brush solo. “Pivot,” on the other hand, is all about change. “I’m a stubborn person, I have a hard time shifting gears and wanted to capture that resistance to change,” says the composer. Stylistic changes cued throughout reveal the band’s seamless communication and range of collective expression. Philion weaves echoes of Charles Mingus into his own virtuosic language, and Reichert’s roots in blues and rock inform his soulful turn. Under Simpson the mood shifts to close with a rubato meditation evocative of John Coltrane’s classic quartet.

“Things Aren’t What They Seem” and “Acquaintance” form a miniature suite, pairing Allgood’s haunting wordless vocal to excellent effect with Philion’s bass and Simpson’s alto. “I was thinking about all the moves, new cities, adapting- it’s been unsettling,” says Reichert. “I asked Alyssa to write spoken word for “Acquaintance” around that vibe.” Simpson ventures boldly into new sonic territory, utilizing electronic effects in a searing improvisation. Allgood also contributes the poignant lyric for Reichert’s “Shadows,” an ethereal trio of guitar, voice, and Bradfield’s supple bass clarinet. “The song is about coming into my own, being confident in who I am,” comments the composer, a sentiment encapsulated perfectly in Allgood’s parting line, “take me as I am.”

A vehicle for Reichert’s distorted guitar, “Vanguard” simmers with menace from the opening arco bass figure. “This is a first for me, writing specifically for distortion, and it challenged me to figure it out.” “Midnight Sky” is similarly guitaristic, built around ringing open strings to evoke a cold, clear October night, the moon framed between the trees in the courtyard of Reichert’s first Chicago apartment. The spotlight here is on the trio, with swinging, tasteful solos from Philion and Reichert.

Throughout Switch Reichert thoughtfully orchestrates unique color combinations of his six colleagues. “Cherry and “Farewell” add Bradfield’s muscular tenor to the quartet. On the former, a groovy earworm inspired by trumpeter Don Cherry, Reichert lays out behind the tenor solo, allowing Bradfield to stretch out liberally with Philion and Drobka aiding and abetting.

“Farewell” captures the feeling of saying goodbye to a place, Berlin in this case, with its melancholy mood and beautifully paced solo statements from Simpson and the composer. “Farewell” also serves as the perfect note on which to say goodbye to Kenny Reichert’s Switch, at least until the next listen.

Kenny Reichert electric guitar
Lenard Simpson alto saxophone
Ethan Philion acoustic bass
Devin Drobka drums & cymbals
Alyssa Allgood voice & spoken word (3, 4, 7)
Geof Bradfield tenor saxophone (5, 9), bass clarinet (7)