Jaleel Shaw's 'Painter of the Invisible' is out July 11 via Changu

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Saxophonist, composer, bandleader, and educator Jaleel Shaw is recognized as an essential voice of his generation – a sentiment strongly echoed by critics, legends, and peers. The winner of the 2014 DownBeat Critics Poll for Rising Star Alto Saxophonist, Shaw has carved out an impressive lane for himself within the jazz landscape, his artistic journey marked by both depth and evolution.

Becoming a key figure within the legendary drummer Roy Haynes' Fountain of Youth ensemble marked a significant breakthrough for Shaw. In addition to Haynes, Shaw has worked with a myriad of luminaries, including Tom Harrell, Christian McBride, Pat Metheny, Stefon Harris, Roy Hargrove, Chick Corea, Dave Holland, and Jimmy Cobb. Currently, Shaw is performing with both Holland's Quartet and Trio, as well as continuing his collaborations with Harris.

Shaw's debut album (Perspective, 2005) coincided with joining Haynes' band, adding another facet to his budding artistry as a gifted composer and bandleader.

Exactly twenty years into his career as a recording artist, Painter of the Invisible (Changu - out July 11) emerges as a deeply vulnerable and sonically brilliant work, reflecting Shaw's transformative journey. The album explores Black life through themes of joy, grief, beauty, social justice, and ancestral wisdom, celebrating both personal loved ones and figures admired from afar – each an individual whose extraordinary life receives deserved gratitude and recognition. Featuring a stellar ensemble of pianist Lawrence Fields, bassist Ben Street, drummer Joe Dyson, guitarist Lage Lund, and vibraphonist Sasha Berliner, Painter of the Invisible is a testament to life's multiplicity through Shaw's compassionate and sagacious lens.

"Alto saxophonist Jaleel Shaw is especially promising, the real thing... a tough personal player.... not a bebop revivalist." - The Chicago Tribune

Each track is a narrative masterpiece, underscoring music's power as both a medium for storytelling and a conduit for emotional expression. Whether dedicating a piece to Tamir Rice, celebrating literary greats like James Baldwin, or reflecting on beloved elders, Shaw's compositions radiate profound appreciation and an unwavering commitment to lifting their names.

"I don't want people and events to be forgotten, " says Shaw. "With everything going on now, I feel like that's where things are being pushed – history being erased, tragedies going unmentioned… and then, on the lighter side, thinking about my grandma or my cousin – such beautiful people who I wish everyone could have experienced and known."

"Distant Images" and "Gina's Ascent" were written for his beloved grandmother, "Pinky, " who passed away in 2016 and cousin, Gina, who he lost in 2020. "She was a bright spirit of the family, " said Shaw of the latter. His grandmother, a Philadelphia sports aficionado, whose sharp sense of style and insightful conversations greatly impacted Shaw's life, also helped shape and broaden his cultural purview. "The song speaks to 'images' of my grandmother; our talks, and things that we used to do together. This song is important to me because it represents a connection I feel to the ancestors. It's me saying 'Thank you' to her."

"Jaleel Shaw has a warm, frank tone on alto saxophone and an attraction to music of earthy enlightenment." - The New York Times

Bringing these stunning compositions to life in the way Shaw envisioned required a touch of serendipity. Lund, who is currently based in his native Norway, happened to be in New York while Shaw was in the studio. Shaw recalls his urgent invitation to Lund, "I said, 'Man, you're coming in the studio!'" This collaboration conjures their musical chemistry from Shaw's first two albums as well as an earlier version of "Distant Images, " initially commissioned by The Jazz Gallery in New York. Shaw fondly recalls, "I missed the guitar, " and the complete sound that Lage brought, eager to expand on their musical magic.

"Gina's Ascent, " which features Berliner, was also realized through spontaneity and a mutual history of shared performances. Shaw remembers the invitation, which Berliner embraced, contributing sparkling textures and a beautiful solo to the ballad. "That was a similar situation, a last-minute call, probably a week before we were going to the studio, and she came in and did it. But we played a lot together before doing the album."

This consistency in collaboration is a defining trait of Painter of the Invisible. "That was the criteria – for us to play a lot together, " Shaw says, reflecting on his 14-year tenure with Haynes. He carries that lesson forward in his own teachings, emphasizing the importance of thoughtfully internalizing music and forging an intuitive bond with fellow artists before stepping into the studio. The result is an album that seamlessly blends compositional genius, captivating virtuosity, and striking band cohesion.

"Meghan" was written for celebrated arts patron and Revive Music Group founder Meghan Stabile, whose passing in 2022 at age 39 devastated the jazz world. Shaw was a frequent collaborator, who offered support to the budding impresario as she was migrating from Berklee College of Music in Boston to New York City, determined to make her indelible mark on the jazz industry. Shaw's soprano saxophone feature on this piece is a moving creative choice, evoking an enchanting spirit, reflective of a woman who meant so much to her community, and whose passion for the music and legacy as a presenter will be significant for years to come.

"Tamir" is a poignant tribute to Tamir Rice, a 12 year old boy, whose murder by the Cleveland Division of Police in 2014 further ignited the Black Lives Matter Movement. Shaw's desire to utilize his art to address social issues is a continuation of a sacred African American tradition. "Writing 'Tamir' was deep, " Shaw remembers. "I felt like I was starting to become numb [by the persistent tragedies affecting the black community]. But when they got a baby... everything shattered. And I was distraught. You would have thought that was my baby brother. I decided then that I'm going to continue to speak out, and it's going to be both in the music and in the titles of the work I present."

Amidst these affecting homages, Shaw artfully balances the album with compositions such as "Baldwin's Blues" and "Beantown." Both tracks encapsulate a singularly expressed exuberance and celebration of the places and people significant to his journey – in particular, "Beantown, " originally commissioned by Chamber Music America and French American Jazz Exchange, serving as a nostalgic nod to his formative years spent at Berklee, where he earned a dual degree in Music Education and Performance.

James Baldwin's presence is a resonant thread in Painter of the Invisible. "Baldwin has always been a transcendent figure, " says Shaw. Baldwin's eminence, rooted in enduring clarity and urgency in his truth about the human condition is something Shaw taps into on his performance.

The ethereal title track, "The Invisible Man, " speaks to a deeper theme within the album. "Like Baldwin, I feel like Ralph Ellison spoke about us. When I say, 'Painter of the Invisible', it's about a people who have always been overlooked in some way. That's part of what this album is about — our experience. As a Black man, I've felt invisible at times."

The album’s closer, “Until We Meet Again, ” is dedicated to saxophonist Casey Benjamin, the Robert Glasper Experiment co-founder and inventive multi-instrumentalist whose unexpected passing in 2024 shook the jazz community to its core. The song also serves as a tribute to others whose influence shaped Shaw’s journey, including jazz icons Roy Haynes, Lou Donaldson, and Dave Sanborn, as well as his teacher and mentor Rayburn Wright. “The whole concept of appreciating people and giving people their flowers… it has become so much more important to me, ” says Shaw. “Especially the people who I feel didn’t get the recognition… the people who you don’t know how much they need to hear it. We all need to hear it. I sometimes feel like I didn’t get to tell these friends and mentors how much I appreciated them.” Through this heartfelt composition, Shaw ensures their legacies live on, honoring their contributions with the reverence and gratitude they deserve.

“I've been thinking a lot about growth, ” says Shaw as he celebrates this professional milestone. “Personal growth, actually, more than musical growth.” For his listeners, Shaw’s music becomes a partner in contemplation – which is also the title of the opening song – and a reason to celebrate the hidden and the profoundly meaningful. The invisible, through Shaw’s masterful album, suddenly becomes vividly tangible.

TRACK LIST

Good Morning
Contemplation
Beantown
Distant Images
Baldwin’s Blues
Gina’s Ascent (Intro)
Gina’s Ascent
8.Tamir
Meghan
The Invisible Man
Until We Meet Again

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