Customer Reviews

Allegory

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Of course not--Pat could be Adam's dad. But consider the uncanny correspondences between Martino's brilliant new disc, Think Tank, and Rogers's equally brilliant new disc, Allegory. First, they're both quintets utilizing the exact same instrumentation (guitar, piano, tenor sax, bass, drums). Second, both incorporate a brilliant young Latin pianist, the Cuban Gonzalo Rubalcaba for Martino, and the Panamian Edward Simon for Rogers. Third, both employ a mainly post-bop oriented tenor sax player, Joe Lovano for Martino, Chris Potter for Rogers. Fourth, both play in a very clean single-note style. Fifth, both use young bassists at the top of their game, Christian McBride for Martino, Scott Colley for Rogers. If McBride is much the better known of the two, Colley is every bit his equal. Sixth, both feature great but somewhat unsung drummers, Louis Nash for Martino and Clarence Penn for Rogers. Seventh, both write sinuous, beguiling compositions. Eighth, both are drenched in The Tradition, but not stuck in it. Each seeks to stake out new ground for modern jazz using basically traditional materials.

Who is more successful? Martino benefits, perhaps, from slightly more well-known bandmates, as well as the advantage of recording for a higher-profile company, Blue Note, as opposed to Rogers's label, the Dutch Company Criss Cross Jazz. Thus, Martino rates a slight overall edge in terms of better sound production, packaging, and distribution.

But that may be where the advantages end. Adam Rogers is fast emerging as one of the very finest of modern jazz guitarists. Perhaps even cleaner-sounding and more fleet-fingered than Martino (check out his astounding playing on "Confluence"), he clearly outdistances the latter in terms of the breadth and variety of his compositions. Natural sounding yet very complex and tricky time signatures and rhythmic pulses are Rogers's metier, as well as a quite astounding range of compositional moves. Featuring everything from modal/Eastern-tinged numbers ("Phyrigia") to post-bop burners ("Confluences") to the funk-tinged "Ghengis Khan" (with Simon brilliantly comping on Fender Rhodes, not an instrument he's noted for playing) to the haunting ballad "Angel of Repose," with its Frisell-like wide-open heartland jazz feel, featuring Rogers in a definite Western mood, to the classical-oriented "Red Leaves," to the free-flowing, chamber jazz-like vibe of "Was," Allegory covers the compositional waterfront.

Despite the scope, shifting moods, and metric complexity of the songs, the band locks into the Rogers's compositional intentions effortlessly. Indeed, one of the glories of this record is the range of feeling expressed in a classic jazz small group setting. In the end, despite all the other similarities, this commonality of purpose is what makes Martino's Think Tank and Rogers's Allegory such close kin: both are masters at moving the tradition forward without resorting either to nu jazz sound canvases or the incorporation of alien elements (hip hop, world jazz, electronica, etc.).

With Allegory, Adam Rogers establishes himself as not only one of the top new guitarists, but an emerging jazzman of the first water. Not to be missed.

The past few years have seen a handful of young, talented, up-and-coming guitarists emerge onto the scene. From Kurt Rosenwinkel's altered tunings and pianistic approach to David Gilmore's M-BASE style to Ben Monder's...well...yeah, each has their own style. Among these artists, Adam Rogers should also take his place as an artist on the rise. Displaying a classical technique, a hard swinging linear-approach, and the ability to play with artists ranging from Michael Brecker and the Mingus Big Band to Norah Jones, Rogers is now beginning to show off his talents as a leader. Allegory is Rogers' sophmore release and features the same line up as his debut Art of the Invisible (Ed Simon, Scott Colley, and Clarence Penn) along with the addition of the firey tenor Chris Potter. The album boasts 10 compositions from the pen of Rogers and range stylistically from the "necessary" blues (Purpose), to neo-classical tone poems (Was), and more rockish tunes (Ghengis). The playing throughout the album is jaw dropping (i.e. Potters solo on Confluence...MERCY!), however Rogers' compositions somtimes seem overly complex and occaisionally not memorable. That being said for the 2nd album by a young guitarist on the rise, its great! Adam, if you ever want to give a 16-year old guitarist a lesson, hit me up man!

Adam rogers playing is brilliant.Great tone tone,great time,wonderful technique. In fact,if you purchase music to hear these thing alone,you will not be disappointed in this record.
If you expect Music to be art,to move you in a way not easily defined ,this album will not be worth your money.
Rogers has recorded some really poetic,beautiful work. Most noteably with David binney....Love his playing in that group. The problem is that his composition,at least on this record,to me is a little cold,somewhat mathematical and does not compel this listener in the least to re-listen.

Well first off, I am a huge Adam Rogers and Chris Potter fan and have studied there music for the past 6 months and I was very impressed with this album. The improving is just killen and the complex ideas that went into this album is simply outstanding. Adam and Chris on this album dont show off there full playing capabilities, but they do show off there musicianship. Allegory is one of my favorite adam rogers cds. I highly recommend it for anyone whos a serious musician