Buttermilk Channel by Adam Levy

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Jazzy Blues | Traditional Jazz Combo

7 tracks | 48 minutes

Released Jun 2001
on Lost Wax

Click Listen sample for a 30-second preview. All tracks are 192kbps high fidelity sound quality. Protected WMA $0.77 or unprotected MP3 $0.88.

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Editorial review

Guitarist Adam Levy is joined by organist Larry Goldings and drummer Kenny Wolleson on this understated and rather engaging album. Levy's tone is far more trebly and bright than is common in jazz, and this suits his compositional aesthetic, which boldly departs from jazz in many instances. There's more than a hint of blues and rock in the slow shuffle of "I Guess," the relaxed, twangy vibe of "Dear John" (a tribute to Scofield, perhaps), and the semi-reggae vehicle "Orange You Glad," which begins with strummed open-string voicings that briefly conjure an Eastern feel. Despite his rock leanings, Levy is not one for distortion and high decibels; even the rocking vamp at the end of "That's All She Wrote" ebbs and flows with dynamic subtlety. Levy's jazz leanings become more evident on "Out of Harm's Way" and the closing track, "Sphere of Influence." This is intelligent, genre-defying music played with a quiet passion. ~ David R. Adler, All Music Guide

Bio / Background

You know that sexy blues guitar solo on Tracy Chapman's "Give Me One Reason"? That's Adam Levy! And besides being a badass blues player, he's a helluva jazz guitarist, as the critics are happy to point out:

"Completely wank free." - Guitar Player

"I suppose many people would call Levy's style 'laid back.' I'd call it guitar for the mind and soul. It wraps you up and makes you feel good and surely that, in the end, is what it's all about." - Jazz Guitar International

"He can play almost any music style with perceptive depth and strength." - East Bay Express

"Levy introduced Johnny Mandel's 'Emily' with a beautiful solo passage, often sustaining notes at the end of his phrases, shaking his guitar to add a brief shimmer. The care with which he shaped his notes gave his music an almost precious quality, but his canny use of silence and ability to imply momentum invested his lines with a certain degree of tension.

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