Chicago Soul Jazz Collective - It Takes a Spark to Start a Fire (2020)

“I would describe It Takes A Spark To Start A Fire as the next logical progression in the development of this ensemble,” says John Fournier, one of the founders of the Chicago Soul Jazz Collective and the band’s tenor sax player. “It’s our first effort to capture the sound we’ve created together, performing live. On stage, the band takes a lot of chances. We improvise quite freely. Out of these improvisations and live performances, our sound took shape. With that in mind, I wrote seven compositions to capture the energy that happens organically, in performance.

“We started out performing soul jazz classics and developed into an original improvisational jazz band based in groove. Musically, we were outgrowing the cover versions, so we branched out and our audience, thankfully, embraced that move.”

The Chicago Soul Jazz Collective came together in 2017, at a recording session for Robbie Fulks. Between takes, Fournier began talking to trumpet player Marques Carroll about the state of the world and how he was turning to his soul jazz records for solace. Marques had been listening to the same music for the same reasons. The duo decided to form an ensemble to perform the classics, as well as lesser-known soul jazz tunes. The plan was to play one night a month, hoping to exhibit a passion, and dedication to groove, that would cut through the difficulties of the world to heal and uplift the band and its audience.

“By our second gig, we were drawing an enthusiastic crowd,” Fournier said. “The audience grew and the dates became an uplifting experience for larger and larger groups of listeners. We’d clap and shout, hoot and holler, sending everybody home in a better place.”

The band’s debut recording, Soulophone, was an effort to capture their live energy with a repertoire of the soul jazz classics - “The In Crowd,” “Soul Shoutin’” - that got the biggest response from the audience at live dates. They cut it live, in two recording sessions and released it on their own label. The album hit #11 and stayed on the JazzWeek charts for over 20 weeks.

Like their debut, Spark was mostly cut live, with a few horn overdubs. It was recorded in a studio using vintage gear, giving the recording a beautiful polish. “There was a pandemic and huge protests while we were making this record, so it was quite an emotional experience,” Fournier said. “We’d played all the tunes live and hashed out all the arrangements as a group, so we had a clear idea of what we wanted the recordings to sound like. There were some charts, but mostly we keep stretching, trying to find new terrain within the sound and concept of the ensemble.”

The album’s title track is a blues shuffle that showcases the band’s commitment to the classic groove. The bounce supplied by Amr Fahmy’s Rhodes and Larry Brown, Jr.’s guitar sets up concise solos from Marques Carroll’s trumpet and Fournier’s sax. “Detroit Will Rise Again” is a slow, moody track, showcasing Brown’s exceptional guitar comping, Fahmy’s melodic approach and Andrew Vogt’s syncopated bass line. Freewheeling solos from Brown, Carroll and Fahmy take off in surprising directions. “Her Eyes Are Blue and Sometimes Gray” is another late-night groove, with Vogt’s haunting bass line and the ingenious percussion of drummer Keith Brooks II laying the groundwork for the trumpet excursions of guest artist Nicholas Payton.

Raul Midón, another special guest, contributes vocals and guitar to “Where Do You Go When You Dream?” The laid-back pulse nods to Joe Williams and the Count Basie Band with Fournier’s sax, Midon’s guitar and Brooks’ work on crash cymbals adding to the revel. The album closer, “Nora Calls From The Moon” takes its cue from Fournier’s love of The Jazz Crusaders, with a side of Benny Golson’s “Killer Joe.” Its smooth vibe gives everyone in the band a chance to stretch out before the fade out.

“I believe we have an inviting ensemble sound, steeped in jazz and blues,” Fournier concluded. “It seems to sound fresh and appealing to a wide range of ears and gives folks a lift. In these troubled times, that’s a pretty exciting to place to be.”

While everyone in the band is active with their own groups, or as sidemen in other projects, CSJC is aiming to start a new recording in December to document their continually evolving sound. They plan to tour as soon as it’s possible to do so safely.