CD Review: Greg Ward's Rogue Parade - Dion's Quest

Greg Ward's Rogue Parade

Dion's Quest

(Sugah Hoof) sugahhoofrecords.bandcamp.com/album/rogue-parade-dions-quest

Some of the tracks on Dion's Quest, the second release by Greg Ward's Rogue Parade, were inspired by dark subject matter, like the COVID-19 pandemic, the murder of George Floyd and the 2020 elections. But before he gets to that, the alto saxophonist begins in an upbeat mood inspired by people he met on a visit to South Africa, whose kindness left an impression on him long after he returned home. "Crimson Clay" is a 6/4 jaunt with Ward and guitarist Matt Gold  in unison while guitarist Dave Miller plays a rhythmic countermelody before taking the first solo. The complexity of Ward's solo, put against the chord pattern different from the first half of the song, begins by sounding like a detailed, written part. But as he liberates himself from the rhythm section, it becomes clear that this is a spontaneous statement.

The mood that Rogue Parade establishes with that track, and the use of two guitars along with the alto, give the group a signature sound. It seems to gather elements from the trebly twang of spaghetti western guitars and intricate post-fusion picking. The former style comes into focus on "Noir Neauveux," where bassist Matt Ulery alternates bars of 5/8 and 6/8 and still keeps it catchy, while Gold and Miller create a high lonesome feel. Ward's long high notes and unison with Gold help set the sun-drenched scene. The bluesy coda wraps things up in a slinky feeling. (Anyone who remembers Wayne Horvitz's Bring Yr Camera album with the group The President will devour this mesh of styles.)

Ward is no stranger to intense subject matter, having been part of Mike Reed's excellent and underrecognized Flesh and Bone, inspired by Reed being trapped in the middle of a European white power rally while on tour. That being said, "Blues of the Earth" offers a musical statement on the Floyd murder and the 2020 elections that might not address either issue directly but it presents some barbed statements, from Ward's opening growls and pops to Miller's manic guitar solo. At the end, it goes into a "Mannish Boy" riff, so it does earn its blues moniker too.

After a few more thoughtful tracks (the harmonically-driven "Bravo Constatine" and "Porthole Dreams," a brief rumination inspired by isolation during the pandemic), "Beware of the Oh EEEs" begins with some guitar clatter that eventually straddles detailed post-rock picking with some wailing from the leader. After hearing the way James Brandon Lewis fit in so well with the Messthetics, this tracks proves Ward's Rogue Parade might be forging an equally righteous path, where visceral attack and sprawling melody lines converge. 

Drummer Quin Kirchner, who can often be heard playing in freer settings, exerts his authority here, playing a little more laidback but definitely driving the music along. At first, it sounds like he and Ulery sat out the closing "Ocean of Faith," leaving Ward, Gold and Miller to explore the rubato melody. But it becomes clear after awhile that bass and drums are there, gently but effectively pushing things along. Maybe its my ears always hearing a connection to some remote song, but a chord change toward the end of each "Ocean of Faith" chorus hints at the hook of Louis Armstrong's "What A Wonderful World," giving it a deeper connection to a message of hope that Ward had in mind. 

With that, Ward has created an album that ought to end up high on the Year End lists.