Home » Jazz Articles » Album Review » Will Bernard: Freelance Subversives

Will Bernard: Freelance Subversives

By Doug Collette
May 13, 2020
View read count

A native Californian currently headquartered in Brooklyn,

Will Bernard

guitar

" data-original-title="" title="">Will Bernard's geographical touchpoints mirror the expanse of solo and collaborative projects to which he's contributed over the course of his career. Just a few of the names appearing in his discography are also indicative of the guitarist's broadly eclectic approach: eccentric singer/composer

Tom Waits

piano and vocals
b.1949

" data-original-title="" title="">Tom Waits, drummer extraordinaire

Stanton Moore

drums
b.1972

" data-original-title="" title="">Stanton Moore and guitar wunderkind

Charlie Hunter

guitar
b.1967

" data-original-title="" title="">Charlie Hunter. And dating back to Will's membership with the latter in

T.J. Kirk

band / ensemble / orchestra

" data-original-title="" title="">T.J. Kirk (with drummer

Scott Amendola

drums
b.1969

" data-original-title="" title="">Scott Amendola), there's been a wry mindset pervading Bernard's idiosyncratic solo efforts, a quality ultimately rendering them as accessible as Freelance Subversives (its cryptic title a tip-off in that regard).

On previous records, Will Bernard has bonded with similarly-aligned instrumental lineups that interact like the musician contributing here, through funky yet lithe motion(s). Yet the frisky tongue-in-cheek opener titled "Pusher Danish" introduces how equally familiar and fresh is this tenth record under his own name. Set in motion and kept moving apace through the drumming of

Eric Kalb

drums
b.1970

" data-original-title="" title="">Eric Kalb and percussionist

Moses Patrou

percussion

" data-original-title="" title="">Moses Patrou, the guitarist (and composer of this all-original slate of eleven songs) trades solos in quick with keyboardist

Eric Finland

keyboards

" data-original-title="" title="">Eric Finland, both of whom maintain exquisite taste and comparable economy. The personnel rotates over the course of the album, but, through those changes, those aforementioned virtues remain as stable as the cohesion of the musicianship.

In his ancillary role as producer on Freelance Subversives, Bernard displays the versatile expertise his experience would suggest, from the audio quality right through to the logical but slightly unpredictable sequencing of the cuts. Accordingly, the alto, soprano, tenor an baritone saxophones of

Skerik

saxophone

" data-original-title="" title="">Skerik and

Jay Rodriguez

saxophone

" data-original-title="" title="">Jay Rodriguez elicit the slightly camouflaged but indispensable elements of jazz plus r&b on "Raffle" and "Grunk," near the album's center, while a handful of recording engineers find the expertise of their work preserved through the mastering of Tom Dimuzio. Whether situated between headphones or within the stereo spectrum of a room, hearing cuts like "Back Channel" invariably move a listener to feel as though he/she is sitting in the middle of the musicians in action.

The tight ensemble playing here is also fully in keeping with the taut arrangements. Still, there remains a palpable air of loose, fun-loving spontaneity throughout cuts such as "Blue Chenille," where a breezy air wafts around and ever upward once it arises from Bernard's tantalizing slide guitar. Such technique is as pointed as it is pungent in that respect though, making for an altogether colorful mix as the elastic guitar lines weave in and out of keyboardist

Ben Stivers

keyboards

" data-original-title="" title="">Ben Stivers' Farfisa and Fender Rhodes electric piano notes. And there's always more going on than first appears to be during these roughly five-to-seven minute tracks, so by the time wizard keyboardist

John Medeski

organ, Hammond B3
b.1965

" data-original-title="" title="">John Medeski (of...Martin & Wood) appears simultaneously on Hammond B3 and Wurlitzer for "Clafunj," there's a righteous sense more Bernard and company have traveled more than just a nominal expanse of stylistic ground.

Appearing near the album's mid-point, that cut functions something like the fulcrum of the LP. And the title tune that directly follows only ratchets up the intensity of the playing heading into the homestretch of Freelance Subversives. As carefully as Will Bernard no doubt conceived these recording sessions, and successfully recruited such like-minded compatriots, they all executed the recordings with a panache that is as addictive as it is delicious. Consequently, the moodiest number here, "Garage A," appearing as it does near the conclusion, allows for contemplation of that very prospect—immediately before a repeat spin no doubt commences.

Learn more about our star rating system

Track Listing

Pusher Danish; Back Channel; Raffle; Blue Chenille; Grunk; Clafunj; Freelance Subversive; Lifer; Garage A; Skill Set; We The People.

Personnel

Will Bernard

guitar

John Medeski

organ, Hammond B3

Skerik

saxophone

Jay Rodriguez

saxophone

Jeff Hanley

bass

Eric Kalb

drums

Moses Patrou

percussion

Eric Finland

keyboards

Ben Stivers

keyboards

Ben Zwerin

bass

Album information

Title: Freelance Subversives | Year Released: 2020 | Record Label: Ropeadope

PREVIOUS / NEXT

Drummer George Schuller Talks about ...
< Previous

Lilac Hill
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.