OpenRangeWebCoverABassist-composer John Davey is excited to announce the release of his new CD “Open Range”,  featuring guitarist Ken McGloin and drummer Dean Sharp. The recording was produced by Davey and Sharp, recorded primarily at The Clubhouse Studio in Rhinebeck NY by Paul Antonell, with additional recording at Dean’s Elbo Projekt Room in Kingston, NY. The recording was  mastered by the amazing producer-guitarist-composer-sound sculptor David Torn. The record features ten new compositions by Davey, as well as two classic Western tunes “Home On the Range” and “Wayfaring Stranger”. The music covers a wide range of the American landscape – a hobo stew of acoustic-electric power-trio/country/indie-rock/jazz/improv. This recording was partially funded by a Kickstarter campaign. and is available  NOW  through CDBaby, iTunes, and Amazon.

Here’s what the critics are saying about OPEN RANGE -

On the jazz trio album Open Range, bassist John Davey is the session leader, but this is no bass-centric project. The lyrical guitarist Ken McGloin and the devilishly inventive drummer Dean Sharp are, if anything, more prominent in these performances. Davey, however, is the principal composer and, one assumes, the lead phone call maker. Open Range belongs to a tradition of quiet radicalism. It is often ECM-like in its world-sourced, impressionistic colors and its low-cliché, sensitive, ensemble improvisation, but it is also challenging and even disturbed in a peripheral kind of way. Its bookend tracks are explicitly indebted to Bright Size Life, the Pat Metheny trio’s debut. Like Bill Evans’ Sunday at the Village Vanguard a generation before, Bright Size Life broke ground with its empathic interplay while it simultaneously debunked the machismo of jazz….No one will perceive Open Range as the kind of smooth jazz of which Metheny is so often (falsely) accused, however. A mere three tracks in, on “The Inevitable Blues,” a sonic oddness begins to assert itself, and it does not let up. “Home on the Range” and “Wayfaring Stranger” tap folk source materials. Things go “world” on the delightful “Tears for Oaxaca,” faux-electronica on “Freakshow,” and ‘60s go-go chic on “Better Days.” It’s an album of hushed intensity and a veiled but deep weirdness expressed in every rattle and rivet of Sharp’s unconventional drumming. It also rocks, sings, and swings freely.                                            by John Burdick, CHRONOGRAM

Recorded in upstate New York and mastered by iconic experimental guitarist David Torn, the band led by bassist, educator John Davey embraces jazz power trio fare amid Americana, and jazz-folk and navigates through a potpourri of improvisation-based scenarios. However, the musicians sustain an open landscape via a loose but potent mode of operations. Consisting of works spanning two to five minutes in length, the trio sustains an upbeat demeanor with a diverse mix. “Freakshow” is a piece where guitarist Ken McGloin employs a bit of jazz rock tinted skronk with gangly and distorted lines on the crest of the rhythm section’s pulsating beats. He also uses volume control techniques to complement his animated constructions and executes succinct melodies throughout the album. On “Hosni & Mommar Go Fishing,” Davey’s booming bass notes and drummer Dean Sharp’s punchy maneuvers tender a corpulent but fluid presence, for a piece built on simmering themes. But “Tears for Oaxaca” is an acoustic-electric samba featuring guest artist Dean Jones chipping in on trombone, and intensified with subtle abstractions. Davey winds “Home On The Range” into a pensive ballad, leading to “Open Range,” with McGloin’s folksy acoustic guitar parts atop a mid-tempo Latin framework, highlighted by an endearing melody and shrouded in an air of optimism that is stylized with linear phrasings and numerous contrasts. And from the power trio spectrum, certain movements with foreboding intimations tend to sneak up on you in systematic fashion. Hence, the musicians enable your imagination to run a little wild on a per-track basis while using depth and capacious acoustics as vantage points.     by Glenn Astarita, ALL ABOUT JAZZ

With John Davey’s album Open Range  we get a worthy confluence of players hitting it pretty hard in ways that reference the Abercrombie-Holland-DeJohnette Gateway Trio in their early days. Not in some direct copycat way, but there’s smoke and fire here that hearkens back without a hardening of the arteries. The improvisations have their own originality and spontaneity.  So who is playing? John Davey on acoustic bass–a man who chooses his notes wisely and has the rhythmic thrust to get things burning. Drummer Dean Sharp has a busy heat in the advanced jazz-rock mode that is totally right for this date. Guitarist Ken Mcgloin has a rock edge with sometimes screaming lines that are generally pretty cranked and so get that sustain going. I like his harmonic and melodic sense and find much that attracts me to his playing on the set. The mostly original tunes ring out well and have solidity to them that only adds to the hip quality of this date. There are several seconds of music because of which as a producer I would have suggested another take. They are quite minor in the scheme of things. Otherwise this is one hip record. Recommended!           by Grego Applegate Edwards gapplegateguitar.blogspot.com

      Bassist and composer John Davey’s newest album Open Range is a worthwhile listen. He is joined by guitarist Ken McGloin and drummer Dean Sharp for 12 songs in the guitar-trio idiom. Davey’s upright bass always provides the body of the overall sound as in the opening track “Trail’s End (Shortcut),” which sets the pace for the whole record. McGloin’s guitar swells in and out of the texture, and Sharp moves the groove forward without ever falling into a straight swing for too long. He is extremely interactive, and this is especially important on the slower grooves like “Heartland.” Davey’s physical sound seems to be rooted in jazz as he plays the upright bass, but his sensibilities go far beyond that. Most of these tunes groove really hard, and it would have been just as easy for him to use an electric bass guitar, but his voice comes from the bass fiddle. Davey’s compositions are punctuated by two old Western tunes, “Home on the Range” and “Wayfaring Stranger.” It’s funny that “Wayfaring Stranger” was an old Western tune, because Davey is able to give it a Middle Eastern sound with his arrangement that features the bass bowing out the melody in a low register while he overdubs a slightly out-of-tune take of him plucking in the upper register to give an Eastern harp-like texture.“Better Days” is a rollicking distorted guitar melody that flies over a lot of trashy cymbal sounds and ultra-low bass and is gone in just over two minutes. The title track “Open Range” is a new-agey Americana thing that features the bass and acoustic guitar doubling the melody as Sharp chugs along with brushes on the snare drum. This album sees a fairly standard looking guitar trio at first glance but, given a closer look, anyone can see that this is unique creative music distinctly from the Hudson Valley.                                                                                                                                                                                                     by Jeff Nania, Metroland

      One caller said that hearing your music helped retrieve his soul that was sucked out of him that day…..Two programmers came into the studio after hearing a cut and asked “Who is that?”  I said, “Oh, some local guy.”…..Very well received, I’d say….Ciao!          The Jazz Disturbance w/Cheryl K.     WGXC 90.7 FM,  Hudson, NY 

For a taste of the wide (open) range of the CD, here are two tracks – the pastoral “HEARTLAND” and the slammin’ “BETTER DAYS” ….Enjoy!


Better Days


Davey released the CD “You Are Here” with his world music-jazz trio GlobeTrotting, featuring bansuri flutist/multi-reedist Steve Gorn and percussionist Brian Melick,  in 2007. He released his first CD as a leader, entitled “Sound Bites”, in 2005, featuring pianist Jeremy Wall, guitarist Chuck D’Aloia, percussionist Brian Melick, and vocalist Lorena Guillen. His chamber-jazz string trio From The Bridge, featuring classical guitarist Dennis Turechek and violist Amy Merrill, released their debut CD “9 views” in 2001. He released the CD “Let Them Tell Us”, a spoken word/poetry/original music project with his wife Alison Black, collectively known as THEY SAY in 2010. John was recently featured on jazz vocalist Diane Ducey’s new CD “Just In Time”, along with pianist Rob Hunt and drummer Joe Tokarowski. All recordings are available through CDBaby.



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