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| Review of "Optimism" New York Times ( 3/30/08 ) Review by Nate Chinen  A bright, robust energy suffuses the playing of Jaleel Shaw, an alto saxophonist who works with the venerable drummer Roy Haynes. Mr. Shaw has a purposeful but uncomplicated relationship with the postbop tradition — he isn’t out to reinvent the wheel, just spin it as he pleases — and he keeps excellent company, leaning on a handful of like-minded peers. His second album, "Optimism," just out on his own Changu label, is an especially effective showcase for the pianist Robert Glasper and the guitarist Lage Lund, who imbue several of its tracks with a warm, contemporary glow. (The blend of Fender Rhodes piano and electronically looped guitars has become a familiar sound in jazz, thanks to players like these.) With only two exceptions, all the compositions are Mr. Shaw’s, and they reflect his assertive but generous personality as a bandleader.
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| Review of "Optimism" By Ken Dryden for allmusic.com A A potent alto saxophonist who previously played withEither/Orchestra and the Mingus Big Band, Jaleel Shaw's second CD as a leader focuses mostly on his own compositions. His top-notch band includes pianist Robert Glasper, guitarist Lage Lund, bassist Joe Martin, and drummer Johnathan Blake. "Flipside" is a strong opener, a turbulent post-bop vehicle that inspires everyone in the group. "Almost" is a haunting ballad (co-written with Lund), while his loping "In 3" has a melancholy air. The leader's two-part suite has a dreamy quality: "Muna's Sleeping" is a lush ballad featuring his floating, lyrical alto with Glasper playing both piano and Fender Rhodes, then "Muna's Dream" is a bit more abstract, with spacy electronic effects behind his straight-ahead solo. Shaw works magic with standards as well. "If I'm Lucky" has been recorded mostly by singers (though it pops up as a jazz instrumental on occasion), Shaw's understated arrangement brings out the song's wistful air; the piano is omitted, and Lund's spacious accompaniment will appeal to fans of Jim Hall andEd Bickert. Cole Porter's "Love for Sale" is performed so often that it is a challenge to take a fresh approach, but Shaw's chart alters the accompaniment just a bit and also adds trumpeter Jeremy Peltas a guest. ~ Ken Dryden, All Music Guide
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| Review of "Optimism" From Donald Elfman at Allaboutjazz A AJaleel Shaw has been a member of the Roy Haynes Quartet since 2005 and his playing reflects the kind of smart professionalism and driving energy that has always been evident in the drummer's work. Shaw recorded his first disc in 2004 and he's back with an album that suggests growth and mature diversity. He's fortunate enough to have an old colleague, pianist Robert Glasper, as well as a handful of bright lights in the modern jazz arena.Shaw is not your cookie-cutter post bopper—he sounds like no one, really, but himself—and he writes tunes that show his compositional approach is also independent. The vocabulary of the tradition is familiar and yet this doesn't sound like a rehash of a hundred other albums. The use of the Fender Rhodes on several tracks suggests the popular vernacular but the music on those tracks tells us that 'popular' is not necessarily bad.
Particularly engaging, for example, is the waltz, "In 3." Here it's alto, guitar, bass and drums and the sound is quietly impressionistic with Lage Lund adding especially lovely colors on guitar. It's a song about texture and emotion and the restraint of the players is particularly engaging.
The title track is a pulsing, driving number that somehow also evokes intelligent contemplation. The impressive thing about Shaw's playing is that it never seems to knock a listener out with volume or power. So this tune pulls us along but not forcefully in any artificial way. And Glasper is especially sensitive on the electric keyboard as if fully understanding the feeling that the composer was seeking.
Shaw the bandleader is sensitive enough to choose a little recorded tune, "If I'm Lucky," that originally appeared on a Johnny Hartman album. It shows Shaw's gorgeous and intimate way with a ballad. Glasper chooses the Fender Rhodes again and the performance stays simple, quiet and lovely.
Optimism is a jazz album whose mood, even in up-tempos, suggests thoughtful understanding and a personal way to make a recording. And even when there are effects they work towards telling a story.
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| Review of "Optimism" From Basic-soul.uk.co Philadelphia continues to crank out jazz musicians at a frenetic pace. The alumni can boast of luminaries such as McCoy Tyner, Jimmy Smith and Christian McBride just to name a few. It’s time to get familiar with Tenor saxophonist Jaleel Shaw. Jaleel’s first record, “Perspective” was a solid debut but his new release “Optimism” blows the doors off the hinges. Jaleel and his band come out swinging on “Flipside”, displaying fierce soloing and tender exchanges. “In 3” is a easy going melodic piece that showcases the wonderful playing of guitarist Lage Lund. “Muna’s Sleeping” is a beautiful ballad that reveals Jaleel’s sense of harmony. When you hear Jaleel’s tone, it’s never forced but a tone that is sings over the melody. Add to the mix a stellar band in Robert Glasper on piano, Joe Martin on bass, Jonathan Blake on drums and trumpeter Jeremy Pelt on two tracks and you have one superb record by an emerging voice on the scene today. “Optimism” is certainly one of the most impressive releases this year. Highly Recommended. Reg Dancy, 10/08 |
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| Review of "Optimism" From Okayplayer.com And the Grammy Award for Album of the Year for 2007 goes to…drumroll…tension builds…the envelope is nervously fumbled then opened…Herbie Hancock for River: The Joni Letters! That’s pretty much how it played out. As Hancock graciously paid tribute to many of his colossal influences, jazz aficionados everywhere rejoiced. Nevermind that names such as Tina Turner, Corinne Bailey Rae and Norah Jones were enlisted for this project a la Carlos Santana’s Supernatural . The fact remains that Hancock achieved this high honor without any of the aforementioned guitar hero’s mainstream exposure. Clearly, this feat gives jazz musicians and listeners cause for celebration. In Jaleel Shaw’s case, it’s cause for Optimism. Featuring a backing corps of Robert Glasper, Joe Martin, Lage Lund, Johnathan Blake and Jeremy Pelt,Optimism showcases the delivered promise of jazz’ tomorrow. The sound is at times relentlessly swift and frenzied like “Flipside” where the maddening pace persists until about the 6:45 mark where Lage Lund’s melodious guitar seems to sooth this beast of a track bringing all of its disparate elements into harmony. At times the sound is hypnotic like the trance inducing “Flight” where Shaw reveals his hip hop sensibility keeping the composition sparse, yet ethereal with little more than Blake’s percussion and Glasper’s Fender Rhodes. The track’s organic feel brings to mind theJazzmatazz series or Buckshot LeFonque. Optimism also showcases Shaw’s instinctive ability to either take charge or collaborate with his cohorts. For instance, on the title track Blake and Lund set the tempo but it’s Shaw who acts as the agitator urging the players to assume an increasingly aggressive stance without overpowering them or transforming the track into a brooding mess. Yet, he relents at the 10:15 mark when the track slips into a melodic coda punctuated by Glasper’s searching Rhodes. In contrast, “Love for Sale” casts Shaw as the consummate collaborator propelling Pelt’s trumpet to the forefront where he embraces the standard’s beautiful Latin/New Orleans swing pacing and its familiar refrain. Though I’m confident Shaw doesn’t anticipate embarking upon a Hancock-like award tour with his latest release, the Grammy exposure should shine a light on a genre of music that many identify only with small, smoke-filled clubs and forsaken vinyl stacked away in dusty milk crates. That light would reveal a generation of young jazz talent respectful of its musical tradition and eager to push its already expansive boundaries. Muscians with whom both Wynton and Branford could identify and jam. - Adam Roussell |
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| Review of "Optimism" From Jazzpolice.com Like mentor and employer Roy Haynes, Jaleel Shaw knows how to surround himself with copasetic cohorts that stand well on their own while also giving the leader ample support. Receiving plenty of kudos while attending Berklee College of Music and through graduate studies at Manhattan School of Music, Shaw has more than lived up to the promise, reflected in his long-standing gigs with the Mingus Big Band and Haynes’ Fountain of Youth quartet as well as in the role of leader and composer. His second recording, Optimism launched his own Changu label, and offers mostly original music that easily lives up to its title. In no small part, this is the result of the collaborative spirit that fuels Robert Glasper on piano and Fender Rhodes, Lage Lund on guitar, Joe Martin on bass, Jonathan Blake on drums, and guest Jeremy Pelt on trumpet, as well as Shaw’s skill in composing and arranging tunes that are modern, accessible, and individual.
The individual voice is apparent on his chosen standards as well as original compositions. “If I’m Lucky” is surely one of the prettiest sax/guitar tracks of the year, Shaw’s balladry on alto an elegant spiritual journey, Lund’s delicate accompaniment as exquisite as a spider’s web, and Joe Martin ever-so-subtle at the deep end of the pool. Throughout the recording, and particularly on Shaw’s “In 3,” Robert Glasper reinvents the Fender Rhodes as a purveyor of ambient post bop savvy and pianistic voicings.
- Andrea Canter |
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| Review of "Optimism" From Grcmc.org 88.1 fm WYCE Jazz to this reviewer is both a discipline and an art form. It can be done horribly wrong or oh-so right. Jaleel Shaw provides a wonderful example of how jazz is done right. He is the real deal. The Philadelphia-based and Grammy nominated alto saxophonist delivers a level of maturity and awareness on his second release as a leader that harkens to his long standing tenure with the Mingus Big Band. The band here reaches back to the archives that defined the genre, with Lage Lund on the guitar, Robert Glasper on the piano, Joe Martin on the bass, Jonathan Blake on percussion and Jeremey Pelt supporting Shaw on the trumpet and flugehorn. Optimism is a deep contribution to jazz. High-points are the opening track, "Flipside," with vague references to Thelonious Monks' "Straight, No Chaser" and the woven tapestry, "The Struggle," with its homage to the soprano sax work of John Coltrane himself. If you like the jazz classics, you'll love this album. -- Daniel Graeber
By Doug Ramsey at Rifftides |
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| Review of "Perspective" From JazzReview.com  Jaleel Shaw’s fruitful imagination, (although strongly influenced by the great Coltrane and Shorter) meticulous technique, and an elegant playing ability has extracted young altist Jaleel Shaw straight from the middle of the infuriated jazz scene. Perspective marks a rosy launching of drummer Jonathan Blake, pianist Robert Glaspe, guitarist Lage Lund and bassist Vicente Archer’s collaborative effort.
Shaw’s authorship is remarkably bringing together precision, fantasy and smoothness to his pieces “The Heavyweight,” “On a Humble,” “Miss Myriam,” “Conflict of Interests,” “Empty,” “Future” and “Leellude.” An ASCAP Young Jazz Composer Award for his opus “The Heavyweight,” a tribute to Coltrane, gives testimony to his professionalism and boldness. “Binky’s Lament,” a track composed by Jeel Shaw and Lage Lund, showcase a superb lyricism dotted with a broad, emotional, gloomy range of sounds. “Conflicts of Interest” strikes us with his tuneful, be-bop inventions, which seem to exceed and inspire geniality. Shaw paints phrases with the melody on the bottom and syncopated assertions in the acute medium coupled with robust boasting. On “My Future Just Passed” Shaw combines grasping and lace-making smooth beats. Jaleel Shaw and Mark Turner’s interpretation of Coltrane’s “Grand Central” convey a language followed with a clean sonority and wide nuance. Inescapable, Shaw’s voice occasionally sounds eclipsed by his musical heroes but this point doesn’t matter here. Perspective is performed with beauty and passionate musical alchemy. Shaw’s lyricism without any hesitation is undeniable. |
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| Review of "Perspective" From Jazzwise Magzine By Tony Hall Hailing from Philadelphia, Berklee dual major and Manhatten School of Music Master altoist Shaw made his recording debut – and his presence strongly felt with a short but passionate, almost Dolphy-ish solo - on a track called “Pieces of a Dream” on Jeremy Pelt’s first CD, “Profile”. He’s now an integral part of the Mingus Big Band sax section and was with them in Manchester this July. For his own first album, he’s chosen some other heavyweight young musicians to support and inspire him and each other. We enthused about Glasper a few years ago and now he’s become the first new jazz musician to be signed by Blue Note in five years. He sounds as though he’s got huge hands! He has an excellent technique, but is also a swinger. Lund, a Norwegian, whom Shaw met at Berklee, sounds an exceptional guitarist, who also swings hard whenever possible. Archer gets more solos than usual and shows why he’s in such demand these days, while boyhood friend Blake brings some of his Mingus band drive to the proceedings. Turner plays on only two cuts, most notably Trane’s “Grand Central”.
Jaleel himself sounds very serious, both as a soloist and a composer. The harmonic conceptions of both Coltrane and Coleman have obviously influenced him, though there’s definitely some Adderley-type soulful swing in “On a Humble” and even a Hodges-like, glissful magic on the only standard, the ballad “My Future Just Passed”. Probably the most striking tracks are the Shaw-Lund co-written lengthy, slow-building, but bluesy, passionate waltz “Binky’s Lament” and Jaleel’s own up-tempo “Conflict of Interests”, with its broken rhythmic intensity and burning solos. Altogether, an impressive effort. As Art Blakey might have put it: “Another new star on the modern jazz horizon”.
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| Review of "Perspective" From AllAboutJazz.com By Joel Robers Jaleel Shaw certainly knows how to make an entrance. The first cut on the alto saxophonist's first outing as a leader has already earned the Philadelphia native an ASCAP Young Jazz Composer Award. That tune, "Heavyweight Champion" an inspired tribute to one of his heroes, John Coltrane, is just one of many treats on this impressive debut.Shaw, who's recorded with the Mingus Big Band, Boston's Either Orchestra, and young trumpet firebrand Jeremy Pelt, among others, has a maturity and assuredness in his playing and even more so in his composing that's well beyond his 26 years. Seven of the ten tunes here are originals and several of them, like the melancholy waltz "Binky's Lament" and the knotty bebop workout "Conflicts of Interest," are memorable. Shaw also shows a fine touch as a ballad player, with a slow, tender take on the obscure chestnut "My Future Just Passed." And in a test of his mettle as a soloist, he goes head to head with Mark Turner, one of the top tenors on the scene, on a brisk version of Coltrane's "Grand Central." Like many young musicians, Shaw's influences sometimes overshadow his own personality, but his idols are well chosen—chief among them Coltrane, Wayne Shorter and, in his powerful, slightly sharp alto sax sound, the great Jackie McLean. With able assistance from a talented young band featuring piano star on the rise Robert Glasper, plus guitarist Lage Lund, bassist Vicente Archer, and drummer Jonathan Blake, Jaleel Shaw has made a convincing opening statement in what promises to be an important career. |
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| New York Times | |
| Interviews: | |
| Jaleel Shaw On Uncensored | |
| Jaleel Shaw On NPR | |
| Jaleel Shaw With Susan Reeves | |
| Jaleel Shaw On AllAboutJazz.com | |