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Inside Back 05:37
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Catbird Seat 01:40
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Bye For Now 01:55

about

★★★★ – Downbeat Magazine “Best Albums of 2017”

“Reedist Shawn Maxwell has won fans with a handful of provocative albums that helped make him an exciting figure on the Chicago jazz landscape. New Tomorrow sees the leader taking even more chances in his ongoing quest to surprise the listener... the innovative impulse that motivates this colorful project is refreshing. All in all, this latest display of Maxwell’s adventurous spirit is bound to move admirers both new and old to say, “Vamp on, Shawn!” - Michael Barris, Downbeat Magazine, January 2017

“... an exciting extension of his edgy group approach that we have heard on previous albums... Although the funky odd meters hint at inspirational precedents, such as Steve Coleman and the Dave Holland Quintet, the album is very much a labor of love in Maxwell’s own voice... This album is a highly recommended release in the funk vein from Maxwell.” - Chicago Jazz Magazine, September 2016

“There are passages here when you can hear Louis' Nawlins, mixing with 50s daddio, mixing with Miles pushing his sax man du jour farther in to outer space mixed with a bunch of funk while tipping your toes in the waters of St. Thomas----all at the same time. And it works gloriously! A nu synthesis that works without feeling derivative, Maxwell won't be Chicago's own much longer with new ideas like this leading the way. A progressive date that doesn't leave you in the dust, this is a fine example of nu jazz sans intimidation. What will they think of next? Check it out.” - Chris Spector, Midwest Record, September 2016

“Maxwell seems to have avoided—on record—the standard quintet configuration—sax and trumpet, backed by a piano/bass/drums rhythm section. But he rips into the genre here, and does so in a dynamic, modernist style that gives the music a far-from-standard treatment... beginning with deep groove "Embraceable Excuses," featuring Victor Garcia on trumpet. Junius Paul's steroidal electric bass, combined with Phil Beale's pounding drums, lay a muscular foundation, and Matt Nelson's Filles de Kilimanjaro (Miles Davis, Columbia Records, 1968)-like electric keyboards pump up the alto sax/trumpet give-and-take from Maxwell and Garcia. "Work In Progress" draws the sound away from the dance-able, celebratory mood of the opener into a dark, exploratory territory. Maxwell's solo is ominous. The rhythm guys shine on this one—with a dark shine, like it's coming off of a chunk of obsidian... uplifting, catchy groove's of this first-rate band.” - 4 Stars - Dan McClenaghan, All About Jazz, September 2016

“... a stripped-down program designed to show off the chops of its powerhouse players... “Embraceable Excuses” is a bold, jazz-funk declaration over a single chord; the insistent repetition of that single root allows the various members of the ensemble to go whirligigging all over it, in bravura runs and improvisations. Special hosannahs to Matt Nelson on Wurlitzer, Victor Garcia on trumpet and Maxwell himself on sax. “Work In Progress” sounds like anything but. The tune is a sly, back alley creeper that bassist Junius Paul packs up in his case and just carries away. His solo is so deftly seductive that when he pauses to hang on a note, you don’t breathe; he’s got your whole respiratory system in synch with his axe. Maxwell comes running after him hard, and some of the wailing he delivers has that slicing-through-the-cerebral-cortex quality that momentarily makes gravity seem like not so much a law as a suggestion.” - Robert Rodi, Newcity Music, October 2016

“Maxwell on alto and flute and his band New Tomorrow continue to confirm my conclusion that Chicago is the capital of jazz in America. The tunes are vibrant, contemporary and innovative, forward looking... expanding the jazz horizon rather than repeating the grand riffs of the past. The beats of the street are here as well as transcendent visions.” - Hobart Taylor, KUCI Irvine CA, February 2017

“Maxwell has hinted at jazz-funk-prog fusion before on previous albums, but never has the funk been more overt than it is throughout New Tomorrow. He’s clearly got the chops and the players to pull off the concept. There’s some interesting writing and playing throughout New Tomorrow... If you like modern jazz, there’s a lot to like on Shawn Maxwell’s New Tomorrow.” - Paul Abella, WDCB Chicago IL, September 2016

Most of the time, he brings his alto to team up with Nelson’s funky keyboards, having the team sound a bit fusion oriented on “Responsibility Run” and the sweetly subtle “Work In Progress.” Hints of Chick Corea crop up on “Progressive Regression” and the fusiony “Three Kinds of Heat” while Paul’s bass gets funky on “Catbird Seat” and “Work In Progress.” Nice look back and forward.” - George W. Harris, Jazz Weekly, December 2016

“On this date, he has sought a balance between strict composition and improvisation, the goal being to create subtle melodies in the midst of complex time signatures. The result is fresh. Maxwell composed all fourteen numbers and the band performance is tight throughout.” - Dave Rogers, WTJU Virginia, October 2016

“Saxophonist Shawn Maxwell’s musicianship has been lauded by fellow musicians and critics alike as he’s become one of the pre-eminent performers in Chicago jazz.... Focusing on composition as much as improvisation, the quintets reveal stunning melodies hidden within complex time signatures, textures and grooves.” - Elaine Hegwood Bowen, The Chicago Crusader, September 2016

“New Tomorrow isn't a departure from the trouble-making, genre-splitting Alliance, which stood out for the use of French horns, vibes and guitar, but no piano or trumpet. He's still on that trip... This time around, Maxwell on alto sax and flute records with a narrower, laser-like focus on splitting the catchy melody with individual insights, while bringing in more funk and soul, over the uneven, shifting grains of sand that has become his foundational signature...” - Carol Banks Weber, AXS.com, 2016

“...Maxwell can’t stand still...” - Neil Tesser (from the album notes)

credits

released September 16, 2016

Shawn Maxwell: alto saxophone/flute
Victor Garcia: trumpet (1, 4, 5, 7, 10)
Chad McCullough: trumpet (2, 3, 6, 8, 8, 13, 14)
Corey Wilkes: trumpet (11)
Matt Nelson: piano, Rhodes, Wurlitzer
Junius Paul: acoustic & electric bass
Phil Beale: drums

Produced by Shawn Maxwell & Nick Eipers
Recorded by Nick Eipers, Assisted by Matt Cerritos
Recorded at Shirk Studios, Chicago, IL
February 8th & 9th, 2016
Mixed & Mastered by Nick Eipers at Crann Darach, Chicago, IL

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Shawn Maxwell Chicago, Illinois

As a composer, recording artist and performer, saxophonist Shawn Maxwell has endeavored to express his own unique voice. From his latest album Millstream (Jazzline, 2020) to his debut Originals (self-released, 2005), he has released nine albums of original compositions. . ... more

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