PRAISE

Reviews for Get Your Glow On

"New York-based guitarist Adam Levy spent a year touring with Norah Jones. For his solo debut, he and longtime collaborator Rob Burger (organ and piano) assembled a crack unit of Memphis musicians for an homage to Southern soul. They include drummer Steve Potts (Booker T. & the MG's, Al Green), bassist David Smith (Luther Allison), saxist Jim Spake (Arthur Alexander), and trumpeter Scott Thompson (James Carr, Rufus Thomas).

Recorded in Memphis, nine of the 11 tracks are infused with the ambiance of classic Stax/Volt, Hi, and Goldwax grooves. Two solo acoustic songs, Charlie Rich's 'Graveyardville' and Levy's 'Acoustic Glow,' seem out of place. Instrumentals 'Bib Front,' 'To Kill a Mockingbird,' and the title track are predominantly influenced by the three M's: MG's, Mar-Keys, and Meters. The funk-grinders — Levy's 'Trash-talking Pixie' and Will Bernard's 'Pursuit of Happiness' — are redolent of acid-jazz organ masters Charles Earland and Larry Young.

It's the fine vocal tracks that will get the most attention, however, and not just for Jones' sultry version of Elvis' 'Love Me Tender.' The other vocal tracks are truer to the spirit of Southern soul, and are, from a sold fan's viewpoint, the album's best tunes: the gospel-tinged ballad 'No Easy Way Down' (written by Gerry Goffin and Carole King and recorded by Dusty Springfield on Dusty in Memphis), Otis Clay's joyous reading of Bob Dylan's 'Tonight I'll Be Staying Here with You,' and Memphis newcomer Susan Marshall's uplifting 'Even If It Takes a Lifetime.'

Levy's uncluttered guitar playing is lean and clean, his shimmering minimalism inspired by the triple pillars of Memphis soul guitar: Steve Cropper, Reggie Young, and Teenie Hodges. Classic Southern soul is alive and well on Get Your Glow On."
— Blues Revue

"While Adam Levy is probably best known for the cool licks that anchor Norah Jones' soul-jazz combo, the versatile guitarist can hold his own in the studio. Witness his second solo album, cut at Sounds Unreel in Memphis, Tennessee. Fronting a funky group that includes drummer Steve Potts (Al Green, Booker T. & the MG's), and saxman Jim Spake (Rufus Thomas, Ike Turner), Levy — a California native — quickly tunes into the Memphis groove. Guest vocalists like Otis Clay, the Holmes Brothers, and Susan Marshall turn in soul-searing renditions of Dylan's 'Tonight I'll Be Staying Here with You' and the Carole King classic 'No Easy Way Down.' Jones' appearance on 'Love Me Tender' nearly steals the show — but her sultry rendition of the Elvis ballad is topped, in this writer's opinion, by Levy's ass-shakin' instrumental 'To Kill a Mockingbird.'"
—Mojo

 

"Levy's Get Your Glow On is a delight from start to finish — a personalized and sometimes passionate celebration of Southern roots music. He kicks things off by evoking the sound of '60s Memphis on the instrumentals 'Bib Front' and 'Get Your Glow On.' Sliding, double-stop guitar licks, jabbing horns, and the enveloping sound of a Hammond B-3 organ generate soul grooves that embrace both the sanctified and the sensuous.

"Then Levy brings on the guests. The Holmes Brother treat 'No Easy Way Down,' the old Gerry Goffin/Carole King ballad, as if it were deeply rooted in gospel and soul traditions. Jones reprises 'Love Me Tender,' coolly evoking shades of Peggy Lee instead of Elvis Presley. Veteran r&b singer Otis Clay nearly steals the show when he transforms 'Tonight I'll Be Staying Here with You,' Bob Dylan's laconic country gem, from promise to plea.

"And Memphis-based singer Susan Marshall brings the album to a smoldering close with 'Even If It Takes a Lifetime,' a new soul tune composed by Fastball's Miles Zuniga.

"For all the vocal talent, though, Levy's nimble touch and Memphis-stamped instrumentals are enough to make 'Glow' shine brightly."
—The Washington Post

 

Reviews for Buttermilk Channel

"The organ is one of those instruments in jazz that polarizes people. Nonetheless, the so-called 'classic' organ trio has enjoyed a certain level of popularity, represented most successfully by the funky groove-based organ style pioneered by Jimmy Smith. However, players like Larry Young sought to break out of the formulaic blues and soul jazz grooving in favor of more exploratory and swirling sound. While largely dormant for most of the 1970s and 1980s, organ groups have reappeared recently. There are several players who can groove with the best of them but also employ intriguing sonic textures and an exploratory approach. One such player, who is featured here, is Larry Goldings, whose wide textural palette and deft playing make this record worth checking out.

"Adam Levy, the leader of this session, is a New-York based guitarist with an impressive resumé, including work with Tracy Chapman, Sex Mob and John Zorn. His tone is twangy, with a touch of delay and distortion, reminding one of John Scofield and Bill Frisell. His sound serves him well for this program. Specifically, Buttermilk Channel is Levy's most recent release, featuring a tight trio of himself, the aforementioned Goldings and the always interesting drumming of Kenny Wollesen. The music here is not an electro-fusion meltdown or a free jazz blowout, but rather, an easygoing session.

"The trio runs through a program of seven compositions penned by Levy. Goldings' aforementioned technique is the perfect foil for Levy's laid back technical approach and, all the while, Wollesen's adroit brushwork propels the music forward. Despite the sameness in tempo, the record mixes several stylistic components. For example, the groove ('Buttermilk Channel'), samba-like ('That's All She Wrote'), straight up blues shuffle ('I Guess'), a jazz ballad ('Out of Harm's Way'), a Scofield-influenced groove number, perhaps dedicated to him ('Dear John'), a Caribbean vibe ('Orange You Glad') and traditional easygoing soul jazz ('Sphere of Influence').

"I must admit that during the first few listens, I was disappointed because the program's tone, meter and approach were too similar. Given Levy's resume and the presence of Goldings and Wollesen, I had expected this to be a more progressive release. However, after successive listens, I began to appreciate the subtlety and restraint. Further, the level of rapport between these musicians is engaging. Goldings' sometimes swirling, sometimes funky organ pastiches and Levy's use of space cause the listener to hang on every note. Thus, Buttermilk Channel is certainly not for adventurous music lovers, but for those seeking pleasant yet interesting music from top-notch musicians.
—onefinalnote.com

 

"In recent years there has been a welcome resurgence in the form of the classic jazz organ trio. Adam Levy has assembled a delightful trio here. The title track, 'Buttermilk Channel,' sets the pace. Levy's sort of 'twangy' picked guitar is reminiscent of Bill Frisell in both tone and texture. With Wollesen on brushes, the tune kicks back and eases its way along on a loping groove. Organist Goldings has been getting a lot of attention lately, and rightly so. His command of the sometimes-unwieldy Hammond B-3 is sure and melodic. This cat is so musical!

"'That's All She Wrote' is a gentle Latin tune highlighted by Wollesen's tasty cymbal work. 'I Guess' is a slow bluesy ballad in the 60's mold. Where many guitarists would fill up the space, Levy is notable for how few notes he plays. His solos are unhurried, unfolding over the course of the song. 'Dear John is a funky tune where Frisell's influence is really felt. At times Levy's playing may be a bit too close to Frisell's, but this is not a bad thing. Levy is a tasteful player who is extremely lyrical in his approach. 'Orange You Glad' is a slow, funky shuffle that harks back to Booker T and other 60's organ groups, while 'Sphere of Influence' is a slow, walking jazz tune that keeps to the same style.

"While the music here never rises above laid back, it is very delightful for what it is. The musicianship is top notch and the playing tasteful. Recommended for those looking for a slow groove organ trio."
—jazzreview.com

 

"Buttermilk Channel is an all-instrumental jazz recording that is nourishment for the soul, as guitarist Adam Levy spreads tasty, cleanly articulated licks over a rhythmic muffin that features Larry Goldings on organ and Kenny Wollesen on drums. The pace remains calm and heartfelt throughout, but the atmosphere compliments a wide variety of listening experiences — from a Sunday morning brunch to the last evening cocktail. It's been said that Levy favors "subtlety over showmanship" (allaboutjazz.com), however if his sophisticated lines thrill the consciousness, then perhaps subtlety over flash might be more apropos. This CD reeks in atmosphere — jazz aficionados should give the sound clips special attention, and give serious thought to future support of this fine musician.

"Born in the Los Angeles area and now residing in New York, Adam's guitar growth has been influenced over the years by Bill Frisell, George Harrison, Jeff Beck, Les Paul, John Scofield and Ted Greene. His style has developed in a non-linear, unfocused method, and lately he finds himself going back to the "old guys" for inspiration — players such as Johnny Smith, George Van Eps, and Django Reinhardt. Adam has played on a number of recordings, including a duo CD with Mark Dziuba, a double CD entitled Live At Avalon & The Graves (with the Lost Trio), and a band recording with Trio Putanesca — Live At Yoshi's. He is also a contributing columnist to Guitar Player magazine.

"Levy continues to gig wherever possible in support of Buttermilk Channel and his duo recording with George Wyle, With My Guitar And You."
—Jazz Resource Center

 

"Sit back in your chair and relax. You'll imagine yourself sitting in the shadow of a tree on a hot, lazy midsummer day, sippin' on a cold cocktail.

"On his debut as a leader, Adam Levy presents a trio with a unique sound. He creates a laid-back, cool atmosphere soft as velvet and demonstrates he knows how to use space and create variety. Levy mixes different styles, like blues in 'I Guess,' tropical almost reggae-like rhythms in 'Orange You Glad' and classic jazz guitar. The all-Levy originals rarely exceed an unhurried relaxed pace. The songs are played subtle, without an urge to show off, so the music unfolds slowly. A wide range of influences is displayed (Levy has worked with everyone from John Zorn to Tracy Chapman), yet Buttermilk Channel feels like one piece; the different compositions by Levy are adventurous, yet have the same basic idea.

Levy is accompanied by his well-matched New York stalwarts Larry Goldings on organ and Kenny Wollesen on drums. Larry Goldings' excellent Hammond organ work feels warm and absorbing. Check out 'I Guess' to hear his ability to create different sounds and atmospheres. Kenny Wollesen's drumming is right on key and his light and interesting accompaniment contributes to a fresh sound, as 'That's All She Wrote' clearly demonstrates. Listen to his blues drum solo in 'I Guess.'

"All in all, a really strong debut album worth repeated listening when summer is approaching."
—Guitar Nine Records

 

"Guitarist Adam Levy is joined by organist Larry Goldings and drummer Kenny Wolleson on this understated and rather engaging album. Levy's tone is far more trebly and bright than is common in jazz, and this suits his compositional aesthetic, which boldly departs from jazz in many instances. There's more than a hint of blues and rock in the slow shuffle of 'I Guess,' the relaxed, twangy vibe of 'Dear John' (a tribute to Scofield, perhaps), and the semi-reggae vehicle 'Orange You Glad,' which begins with strummed open-string voicings that briefly conjure an Eastern feel. Despite his rock leanings, Levy is not one for distortion and high decibels; even the rocking vamp at the end of 'That's All She Wrote' ebbs and flows with dynamic subtlety. Levy's jazz leanings become more evident on 'Out of Harm's Way' and the closing track, 'Sphere of Influence.' This is intelligent, genre-defying music, played with a quiet passion."
—All Music Guide

 

"Finally, somebody puts their money where their mouth is. Guitarist Adam Levy, a former associate editor who still freelances for Guitar Player magazine, went out and cut his first CD as a leader this year, and I'm happy to say the disc is a keeper. A guitar-organ-drums date, Buttermilk Channelis a jazzy, laid-back, soulful affair, full of spare, shimmering chords and bent, bluesy notes, a perfect breath of slow cool for summer's dog days. Levy is a player of wit and variety who understands the use of space and silence, and he's exceedingly well-matched on the new disc by drummer Kenny Wollesen and, most especially, excellent Hammond B-3 man Larry Goldings. Their easy, unhurried interplay on Buttermilk's program of all-Levy originals — rarely rising above a leisurely pace — has a tonic-like effect: A late-night dose of this stuff is good for just about anything that ails you."
—L.A. Weekly

 

"Stunning. Absolutely stunning. Adam Levy is a guitar player with a difference. His fluid, loose, and sometimes loopy style reminds us in some ways of guitars in the band Durutti Column . . . although the songs themselves are vastly different. The songs on Buttermilk Channel are subtle, yet they have a strange mesmerizing quality that is inviting. Levy's backing musicians on this album offer near perfect accompaniment. Larry Goldings offers some fine and absorbing organ work, and Kenny Wollesen's drumming is right on key (we love those atmospheric cymbals). This music touches on jazz, easy listening, lounge, and could also pass as the soundtrack to a film. Seven lengthy tunes here, and all of them are superb. Our top picks: 'Buttermilk Channel,' 'I Guess,' 'Dear John,' and 'Sphere of Influence.' (Rating: 4+++)"
—babysue.com

 

"It's a languorous summer afternoon, you're sipping a mojito in the sun — perhaps a daiquiri if you're out of mint and are too drunk to go to the store — Adam Levy's Buttermilk Channel is dripping out of the stereo and hanging on your ears like Spanish moss. You feel a little bit like a wilted heroine from some highly atmospheric Wim Wenders film. And I feel like I'm auditioning for the J. Peterson catalog. All in all, it's a good time."
—Oakland's Urban View.

 

"I don't know if guitarist Adam Levy made Buttermilk Channel with the searing heat of New York in July in mind, but his impressive debut effort as a leader makes perfect listening for lazy, languorous midsummer city days.

"On this groove-based trio album (featuring New York stalwarts Larry Goldings on organ and Kenny Wollesen on drums), Levy creates a mood of laid-back cool, as he blends classic jazz guitar ('Sphere of Influence'), down-home blues ('I Guess'), tropical rhythms ('Orange You Glad') and sophisticated Steely Dan pop ('Dear John') into a rich, coherent musical stew. Like fellow guitar heavy Bill Frisell, Levy's genre-hopping is natural and unforced. He's equally comfortable bending blues notes a la B.B. King or playing straight-ahead jazz solos in the manner of, say, Kenny Burrell. And like Frisell, Levy is one of the few electric guitar players who favors subtlety over showmanship, who allows the music to unfold slowly rather than feeling the need to show off his chops constantly — though, make no doubt about it, Levy has chops to spare.

"While the range of influences here is diverse (not surprising for an artist who has worked with everyone from John Zorn to Tracy Chapman), Buttermilk Channel feels of one piece, like there's actually a central unifying vision at work — a rare thing today when most jazz CDs sound like a slapdash assortment of unrelated songs. That sense of unity is due mostly to Levy's compositions, which are adventurous, yet accessible, well-crafted yet not over-written. And the presence of talented, likeminded cohorts like Goldings and Wollesen doesn't hurt either.

"All in all, a very rewarding effort that warrants repeated listening, especially as the steamy days of August approach."
—allaboutjazz.com

 

"Guitarist Adam Levy, former associate editor and still contributor to Guitar Player magazine, born and raised in Los Angeles, Encino Specifically, now living in New York City, performed two nights at Rocco's late-hour venue in Hollywood in early July. Joining him were Palmetto recording artist, Hammond B-3 organist (and sometimes pianist) Larry Goldings, also from NYC and a frequent visitor on the local scene, drummer Scott Amendola, from San Francisco.

"Caught the second of the two nights, Levy and company spun most of their repertoire with easy-going self assurance, drifting leisurely from one piece to another in the manner of Levy's new album, Buttermilk Channel, which in addition to Goldings, has Kenny Wollesen — guitarist Bill Frisell's drummer as well — in place of Amendola. Anyhow, both drummers are among the very best of the new youngish crop — able to fit themselves into most any music genre — to inhabit the jazz world.

"Although most tunes offered this night were originals, those that weren't were presented with originality. Always swinging, and while essentially retaining the basic elements of jazz, often bluesy, they frequently were tinged with a country feeling, with rhythm and melody abounding. Too, maybe unusual for most jazz bands was its inclusion of the Zombies' psychedelic pop hit from 1969, 'The Time of the Season.' But that is Levy, and that's the way the evening's music, by and large, went.

"'Body and Soul,' however, was one of the few played in the way of a straight jazz ballad. Yet here again it fit the tenor of the evening's musically relaxed atmosphere.

"But lest you think Levy hasn't the musical daring and the toughness to take it outside, you would be greatly mistaken. The evening's finale proved the point. His gospelish 'I Guess,' started out at a slow gate, marching to the cadence of a New Orleans funeral processional. Gradually, although, it built into a rollicking spiritual-like segment, culminating in a grand din of Hendrix-like dissonance, thrillingly leaving the audience yet something more about which to talk."
—L.A. Jazz Scene

 

"The guitarist's Buttermilk Channel has been on my box quite a bit. It's provided a colorful calm during humid dinners with two idea-spouting kids, and stimulated thoughts during late-night writing sessions as well. I call that win-win. Sometimes atmosphere — created here by organ, drums, and the boss's fluid strums — is personality enough. Waiter, another Sex On the Beach, please."
—The Village Voice

 

Other Reviews

"Seldom will you hear club jazz as beautifully recorded as Live at Avalon and the Graves by the Lost Trio (plus Adam Levy). It's also exceptionally beautiful music, with Bay Area saxist Phillip Greenlief steering away from the hot bluster and conceptual intellectuality at which he also excels in favor of a gentle lyricism that trips along just above the level of your heartbeat. He clearly wants to make sure you can hear the subtlety of Adam Levy's touch — Levy's one electric guitarist who lends every note and chord its own shading. The selections lean toward standards, but not always the ones you expect: Mel Tillis and Nino Rota nudge up against Billy Strayhorn with zero friction, thanks to the millstream swing of drummer Tom Hassett and bassist Dan Seamans. And all four are together tonight. Buy the CD (a double); you'll be glad you did."
— L.A. Weekly
(from an advance listing for the Lost Trio plus Adam Levy, live at Rocco).

 

"I suppose many people would call Levy's style 'laid-back.' I'd call it guitar for the mind and soul. It wraps you up and makes you feel good and surely that, in the end, is what it's all about. Rating: ****"
— Jazz Guitar International
(from a review of Trio Putanesca — Live at Yoshi's)

 

"Levy's guitar exudes Jimmy Raney-like perspicuity."
—Tower Records' Pulse!
(from a review of Phillip Greenlief/Adam Levy/Dan Seamans — Who Ordered the Fish?)

 

"Levy can play almost any music style with perceptive depth and strength."
—East Bay Express

 

"Completely wank free."
—Guitar Player

 

Adam Levy is on Nels Cline's "Top 200 Guitarists" list.
Check out the list at nelscline.com.