VICTOR BAKER: As the Crow Flies

When Victor Baker, a self-described lifelong jazz guitar nut, isn’t building an instrument, he is writing, preparing, and playing his original music with his group. His debut album, As the Crow Flies, is a testament to his compositional and improvisational prowess gliding across the guitar fretboard.

The nine-track package of Baker’s original instrumental compositions features Doug Walker on bass, Tobin Chodos on Fender Rhodes piano (tracks 1,2,3), Eric Shechter on keys (tracks 4,5,6,7,8,9) and Mark Ferber on drums.

The opening two tracks are the title track and “Broken Chocolate,” busting out of the gate behind Baker’s clean guitar tone melodies, with a jazz-fusion edge reminiscent of Chick Corea and Herbie Hancock’s innovative use of the Fender Rhodes piano in the 1970s, which Chodos replicates well in his chord comping and soloing.

The ballad, “Cherry,” brings bassist Walker front and center with punchy obligato bass figures in addition to a lush bass solo. It has potential for a lyricist to add in a vocal twist, as many instrumental modal jazz tunes have done in the past. Additionally, the ballad “Dream Sequence” gives Walker another moment to exhibit his melodic approach to bass soloing along with Baker’s smooth chord melody movement throughout.

Baker’s compositions are loaded with myriad time signature changes and shifting rhythmic grooves that can be a challenge for many a drummer. However, he hired the appropriate drummer. Ferber is the engine and rhythmic force throughout the album, dropping syncopated patterns from rim shots to cymbal crashes just in the right places to complement Baker’s compositions with echoes of drum legends Alphonse Mouzon and Paul Motian smiling down.

Baker’s compositional melody and improvising on the track “Dream Vista” are reminiscent of guitarist Pat Metheny’s early-period compositions and solos, another parallel to the jazz fusion movement of the 1970s highlighted by shifting key center chordal movement.

On the track “The Process,” Baker turns the trio behind him loose with an up-tempo groove fueled by Ferber’s syncopated rhythmic patterns, Walker’s walking bass figures amid a scorching piano solo from Shechter that concludes with Baker’s guitar solo and compositional melody.

The track “Crop 32” is the most straight-ahead jazz piece on the album, with burning solos from Baker and Shechter on piano and strong rhythm-section support from Walker and Ferber.

The closing track, “The Revival,” opens with a melody well suited for a movie track before it launches into Baker’s fluid single-note solo followed by a lovely interplay with Walker’s bass figures, à la Scott LaFaro, in tandem with Baker’s tasty chord melody voicings.

Overall, an instrumental jazz album is never a million-dollar seller, but for the jazz aficionado, cerebral music lovers, and for those who appreciate high-level musicianship, As the Crow Flies will be a welcomed addition to your musical library.