Mar 18, 2025 3:00 PM
A Love Supreme at 60: Thoughts on Coltrane’s Masterwork
In his original liner notes to A Love Supreme, John Coltrane wrote: “Yes, it is true — ‘seek and ye shall…
Mike Moreno (Photo: Lafiya Watson)
(Photo: )On his fourth album as a leader, Mike Moreno solidifies his position as one of the most compelling guitarists in jazz today. Since arriving in New York City in the late ’90s, Moreno, 33, has become an in-demand player, working with Joshua Redman, Gretchen Parlato, Kenny Garrett and Ravi Coltrane. Moreno’s Another Way, featuring a band of modern heavy hitters—pianist Aaron Parks, vibraphonists Warren Wolf and Chris Dingman, bassist Matt Brewer, and drummers Ted Poor and Jochen Rueckert—was recorded mostly in 2009. Moreno has been plenty busy since then, touring with his own band as well as artists like Nicholas Payton, Will Vinson and Francisco Mela. Released on World CultureMusic, Another Way features Moreno’s dynamic ensemble performing a collection of his excellent, original compositions.
The music features whimsical melodies and unexpected harmonies, showcasing an impressive range not only in terms of composition, but also instrumentally, with a chord-driven hookup between Moreno, Parks and Wolf. “I was hearing some of the music with vibraphone when I was writing it,” explains Moreno. “There were certain elements that, to me, were calling out for it.”
The album’s dark, cinematic opener, “The Spinning Wheel,” establishes the band’s sound. Poor’s vigorous drumming propels tunes like the driving “One And A Half” into high gear. Moreno first gravitated to Poor’s mid-range sound while touring with Parks’ band in 2008.
The musical camaraderie of Moreno and Parks dates back to 2006, when Parks played on the guitarist’s stellar debut, Between The Lines (World Culture Music). The two flourished, particularly on the gorgeous duo piece “Still Here”; their connection deepened on Another Way with a lyricism so natural that it screamed for a project dedicated entirely to their partnership, which is now in the works. “The way I write calls for certain musicians,” says Moreno. “Aaron has a way of bringing the music across the way I hear it.”
“There’s something [special] about the way that those two sounds interweave, and when they connect and double a melody or counter each other,” says Parks. “The way that Mike and I find a way to create something together—it has the potential to really do something beautiful and emotional. There’s just a good feeling there.”
Moreno had long envisioned his new CD—a departure from his two Criss Cross Jazz albums, which brilliantly showcased his affinity for standards—but the challenge of putting out music independently was evidenced by the amount of time it took to get funding. Along with founder and fellow Houstonian Kendrick Scott, Moreno teamed up with a group of like-minded musicians in 2006 to form World Culture Music, where he has released his most personal material.
“With the World Culture Music label, it’s still an independent release,” he says. “I own 100 percent of my records and get 100 percent of the profits, but there is a brand, artists and a catalog there to stand with. We split publicity costs, and having a catalog, even if it’s small, helps to get distribution.”
Over the past two years, Moreno—who graduated from The New School for Jazz and Contemporary Music in New York—has broken into the network of international clinics, joining the artist-in-residence faculty at the Berklee College of Music affiliates in Quito, Ecuador and São Paulo, Brazil.
Moreno also has been broadening his musical statements, recently working with bassist/singer Meshell Ndegeocello on her Gil Scott-Heron project, and with vocalist Claudia Acuña, with whom Moreno will be touring and whose album Ndegeocello is producing. Moreno met Ndegeocello last year at the “713—> 212: Houstonians in NYC” concerts, organized by pianist Jason Moran at the 92nd Street Y/Tribeca performance space. “When [Moreno] played, I was floored by what were amazing chops, but that was deceptive, because after he settled in, he morphed into a languid, open sky,” recalls Ndegeocello. “He is inspiring to me as a writer and producer because he makes you want to create a space for him to search and explore.”
Moreno continues to steadfastly raise his profile. “I want to keep putting records out, and I want to do another one soon,” he says. “I feel like I’m only beginning to find my way, and the more records I make, the more possibilities I will find.”
—Angelika Beener
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