Charlie Hunter Trio – A Wild Ride Through Jazz’s Untamed Corners
Man, oh man, the Charlie Hunter Trio’s self-titled album from 2021 is one of those records that just grabs you by the ears and says, “Hey, pay attention.” It’s jazz—but not like your grandma’s jazz (no offense, Grandma). This thing swings between Acid Jazz, Experimental, Jazz-Rock, and even some Bop vibes. You name it, they’ve got it. And somehow, it all works.
Let’s talk about two tracks that stuck with me: Dance of the Jazz Fascists and Fables of Faubus. First off, how do you not love a song called Dance of the Jazz Fascists? The title alone sounds like an underground club in 1960s Paris where everyone smokes Gauloises and argues about Picasso. But this track isn’t pretentious—it’s raw energy. Charlie Hunter’s guitar work here is insane. Like, I don’t even know how many strings he’s playing on because it feels like he’s channeling three musicians at once. Jay Lane on drums keeps things tight but loose enough to let the groove breathe. There’s something almost rebellious about this tune; it challenges you without being snobby about it. By the time David Ellis comes in with his saxophone, you’re already hooked, bobbing your head like a pigeon looking for breadcrumbs.
Then there’s Fables of Faubus, which hits different. It starts slow, almost sneaky, like it’s creeping up behind you. Then BAM!—the rhythm kicks in, and suddenly you’re transported to some smoky basement gig where people are clapping out of sync because they can’t help themselves. The interplay between Hunter’s guitar and Ellis’s sax is magnetic. They’re having so much fun, you can practically hear them grinning through their instruments. It’s funky, sharp, and weirdly comforting, like finding an old pair of jeans you forgot you loved.
What makes this album stand out is its refusal to sit still. One moment you’re nodding along to smooth Jazz-Funk, and the next, you’re thrown into a chaotic swirl of Fusion madness. It’s unpredictable, sure, but never alienating. Even when the songs feel experimental, they stay grounded thanks to the trio’s undeniable chemistry. You can tell these guys have been jamming together for years—they trust each other completely.
And props to whoever designed the artwork (Push The Baby Studios), because the cover looks as cool as the music sounds. Tim Metallo nailed it, giving it that retro yet modern vibe that perfectly matches the vibe inside.
Here’s the thing: listening to this album felt less like putting on headphones and more like crashing a secret party where everyone knows the password except you. At first, you’re confused, but then you realize you wouldn’t want to leave even if they handed you the map home.
Final thought? If jazz had a punk phase, this would be it. Or maybe it’s proof that jazz doesn’t need phases—it’s always evolving, always reinventing itself. Either way, the Charlie Hunter Trio reminds us why we fell in love with music in the first place: it’s alive, messy, and totally unforgettable. Oh, and did I mention the saxophonist has great hair? Because he does.
