Ron Oswanski's 'December's Moon'

Ron Oswanski’s album titled December’s Moon released March 19, 2013 from Palmetto Records is a masterful blend of classical and rock instruments mixed together in a soft tone. Oswanski adeptly plays both the Hammond B3 organ as well as the piano and accordion. He’s joined by Clarence Penn on drums and percussion, Ian Froman also on drums, Jay Azzolina on acoustic and electric guitar, John Abercrombie on electric guitar, John Patitucci on acoustic and electric bass and Tim Ries on soprano and tenor saxophone. Ries and Oswanski produced the album, which was recorded at Bennett Studios in Englewood, NJ. The contrasting instruments magically flow together and produce harmonies that will be music to listeners’ ears.

The opening track titled “White Meadow” opens with Oswanski’s wonderful Hammond B3 organ play, followed by expert electric guitar riffs from Azzolina and Abercrombie. Then, Ries chimes in with his delicate sax play. Together these instruments bring about a melody that could make listeners envision frolicking about in a silvery pasture alone with their thoughts. “Mercury Retrograde” has a decidedly different tone as it starts off with Penn and Froman’s drums along with Azzolina’s acoustic guitar play and Patitucci’s acoustic bass. Then, Penn and Froman’s drumming drops to periodic beats in the background as Oswanski’s Hammond B3 prowess makes itself known giving the track a moody vibe. The title track begins with Azzolina’s acoustic guitar muted strumming as Ries’ soprano sax chimes in reminiscent of Kenny G’s tender melodies. Patitucci’s acoustic bass can be heard faintly in the background giving the track an almost misty rhythm. “Milk of the Moon” begins with Ries’ methodical sax play with Patitucci’s bass in the background lightly pulsing. Azzolina strums on the acoustic guitar alongside Patitucci’s bass giving a welcome contrast between hard and gentle instruments. Oswanski portrays his piano skills in the background as well lending a slight classical bend to the track as Penn and Froman’s drumming nimbly pound in the background. “Sleeping Beauty” opens with Ries’ on tenor sax and Oswanski on the Hammond B3 organ with Froman and Penn’s drumming in the background. This track has a repetitive chorus, but that doesn’t detract from its sultry vibe. Its rhythm will make listeners want to slide onto the dance floor for a seductive slow dance with their sweetheart or a dark stranger. Yet, midway, its pace picks up as Oswanski’s Hammond B3 organ play gets livelier and Penn and Froman’s drumming becomes more prevalent. “Kayak” begins with Oswanski’s cool Hammond B3 organ work then periodic notes from Abercombie’s guitar. Their pairing is offset by Froman and Penn’s shadowy drumming and Patitucci’s smoky bass play. The final track titled “Evanessence” opens with Oswanski’s almost gospel-like playing of the Hammond B3 organ. Patitucci’s deep bass play along with Penn’s drum work give the track a profound vibe.

To sum up, December’s Moon from Ron Oswanski is a melding of various sounding instruments, which produces melodies, cadences and rhythms listeners might not expect on a jazz album but add a distinctive tone to each track.

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