Album Review: Clean On The Corner by Mike Reed's People, Places & Things
Alright, let’s talk about Clean On The Corner. This 2012 jazz album from Mike Reed’s crew is the kind of record that sneaks up on you. It’s not flashy or loud—it’s just… there, doing its thing in a way that feels real and unpretentious. The genre? Jazz, obviously, but it leans into free improvisation, which means things get loose, unpredictable, and kinda wild at times. And honestly, I’m here for it.
The band is stacked with talent. You’ve got Greg Ward ripping alto sax lines like he owns the instrument, Jason Roebke holding down bass duties with steady vibes, and Mike Reed himself keeping everything glued together behind the drums. Then there’s Craig Taborn hopping in on piano for a couple tracks, adding this rich, moody texture when you least expect it. Cornet player Josh Berman pops in too, giving some tunes an extra layer of brass grit. Honestly, these folks sound like they’re vibing off each other without even trying too hard.
Now, onto the tracks. Let’s start with “Sharon.” Right off the bat, this one grabs your attention because it doesn’t waste time. There’s no grand intro—just straight-up groove. Tim Haldeman’s tenor sax comes in all smooth, blending perfectly with Ward’s punchier alto work. It’s not overly complicated, but man, does it stick with you. Like, after listening to it once, I found myself humming bits of it later while making coffee. That’s how you know something hits right—it sticks around without you even realizing it.
Another standout is “The Lady Has A Bomb.” First off, what a title, right? But the song lives up to it. The energy shifts constantly—it starts slow and brooding, then BAM, it explodes into this chaotic yet controlled jam session. Mike Reed’s drumming really shines here; he’s not just keeping time but driving the whole thing forward like he’s steering a ship through stormy waters. By the end, you’re left breathless, wondering what just happened.
One thing I love about this album is how raw and honest it feels. No overproduced nonsense, no forced coolness. Just musicians playing together, letting their instincts guide them. Even the quieter moments, like “Warming Down,” have this understated beauty to them. It’s like overhearing a private conversation between friends who know each other inside out.
So yeah, Clean On The Corner isn’t gonna change your life overnight, but it’ll make you appreciate the little things more—like how good music can feel so alive, even when it’s recorded. Honestly, if this album were a person, it’d probably be someone chill sitting in the corner at a party, quietly killing it without needing anyone to notice. Weird flex, but I respect it.
Oh, and random thought: If you listen to this album during a road trip, don’t blame me if you start drumming on the steering wheel like crazy.
