Greg Ward's Rogue Parade: Dion's Quest
Sugah Hoof Records

No better argument is needed on behalf of Greg Ward's Rogue Parade project than “Crimson Clay,” the opening track on the group's sophomore outing Dion's Quest. Riding the considerable wave of momentum generated by 2019's Stomping Off From Greenwood (Greenleaf), the quintet lunges from the gate with the saxophonist declaiming over a roiling base produced by guitarists Dave Miller and Matt Gold, bassist Matt Ulery, and drummer Quin Kirchner. The snarl the six-stringers get up to is lethal, the combustion of the rhythm partners potent, and Ward rises above the fray with a bright, clear tone and inspired attack that leaves little doubt as to who's in charge. Here and elsewhere, the guitarists support each other fabulously, and when one solos, the other strengthens him with rhythm patterns and ethereal textures. Best of all, the tune boasts a singing theme that makes the performance all the more anthemic—a perfect opener, whether it be on record or at the concert hall.

The inaugural release on Ward's own Sugah Hoof Records, Dion's Quest represents the next stage in the group's evolution, the writing solid and the performances enthralling. A tad reminiscent of Ornette's original Prime Time in using alto sax as the stabilizing nucleus for guitars, bass, and drums, Rogue Parade distances itself from the late legend's outfit by powering Ward's compositions with a raw and incendiary attack. If the band sounds tight, it's in part explained by the connection the five have refined over the seven years the group's existed. Of course, the members have played in other contexts too, Ulery and Kirchner, for example, a tag-team who've partnered on any number of the bassist's projects.

As the album title suggests, the release extends Ward's focus beyond his Chicago base to take in events at a larger scale. Though the music's instrumental, the pieces were written with events such as George Floyd's murder, the 2020 election, and the pandemic weighing heavily on his mind. More generally, the album's a document of where Ward is now as someone navigating life's twists and turns and furthering his progress as an artist. He's in terrific form throughout, his playing impressing with invention and energy.

A performance as awesome as “Crimson Clay” sets a dauntingly high bar for what follows, but the seven remaining tracks are strong too. “Dashing Towards First Light” segues between funky passages and driving ones, the performance excellently showcasing the intricate webs the guitarists add to the album. Whereas “Noir Nouveux” is largely atmospheric and dreamy, “Blues of the Earth” gets grungy with a swampy shuffle and guitar work that's scrabbly and skronky in equal measure. Some semblance of African highlife seeps into “Bravo Constantine” when the guitarists back Ward's saxophone with single-line patterns.

February 2023