Waking Dream

In Waking Dream, guitarist Randy Napoleon has assembled a musical family whose shared history fosters a strong sense of cohesion, one that goes beyond the leader's skillful guitar work. Longtime collaborators bassist Rodney Whitaker, pianist Rick Roe and drummer Quincy Davis form the rhythmic and harmonic foundation, while four additional guitarists , Luke Sittard, Chris Minami, Jocelyn Gould and Ben Turner, create a rich sonic tapestry reminiscent of a modern guitar choir. Throughout the tracks, there are also special guests, each with a musical connection to Napoleon.

The album primarily features compositions by Gregg Hill, whose songwriting has long inspired Napoleon, although several of the guitarist's own pieces also appear in the program. The opening track, "Super Moon," immediately establishes the mood with intricate guitar voicings layered like brush strokes on a canvas. The ensemble offers harmonic richness without sacrificing space or clarity. Napoleon and Gould deliver fleet-fingered solos, while Whitaker demonstrates his energy as a bassist. "The Speckled Frog" swings with subtle charm, driven by Davis' crisp drumming as trumpeter Anthony Stanco offers a polished solo over powerful playing. Napoleon and Turner showcase their versatility and consistent productivity as guitarists.

The title track, "Waking Dream," is a Napoleon original and a study in texture. The ensemble weaves counter-melodies and rhythmic cascades that elevate the piece into impressionistic territory. Roe contributes a solo that dances with lyrical ease, and Minami's warm-centred interjection fits the chart empathetically. "Cafe Brasilia" exudes a breezy Latin flair, with Napoleon constantly shifting through colours and shapes. Roe's solo glides effortlessly over the harmonic framework, while Whitaker remains grounded with a deep, resonant pulse.

As the album unfolds, it becomes clear that it is filled with color and artistic mentorship, shaping the compositions with elegance and daring. "Riverside Blossoms" is a delightful swinger and one of the album's most evocative pieces, blooming with lyrical grace and harmonic warmth. Michael Dease's rich, burnished trombone weaves through the ensemble with unhurried phrasing. Napoleon and Whitaker continue to demonstrate their skills as compelling and warm soloists.

The session concludes with "Boom Boom," a lively finale that captures the full energy of the ensemble. The rhythmic drive from Davis propels the piece with spirited momentum, highlighting the sharp solos from Minami, Turner and Gould. Walter Blanding's tenor saxophone confidently steps into the spotlight with its rich tone and commanding phrasing, providing a dynamic contrast to the guitar textures. This number serves as the perfect ending to an album that thrives on interaction, color, and relentless creativity.