Steppin' Lightly - Trio Album

George Gilliam opens his CD with a slow blues strut, capably assisted by Donnell

Lambert walking his upright bass and Donald Dean solidly holding the rhythm in place on drums. This tune is appropriately titled “Step Lightly” a Joe Henderson composition.

Gilliam finds all the right harmonics to accompany his tribute to Henderson’s memorable melody. “Falling In Love with Love” is an old Rogers and Hart favorite. It Fox Trots onto the scene in slow swing time after a lush, rubato solo introduction by Gilliam. Lambert supports the tune initially with a two-feel, letting the listening audience settle comfortably into the groove. Played lightly and always paying acute attention to the melody line, Gilliam soon stretches out, improvising his way atop the concrete backing of his musical peers. This is an easy listening jazz experience, tastefully recorded and mixed just right to enjoy the charm of every tone and musical nuance. Bravo to the engineer, Scott Fraser of Arquitecture, who captured the trio’s performance as though the listener was seated front-row center.

Gilliam is no newcomer to his instrument. In his hometown of Gary, Indiana, he began

stage work as a professional musician with Wilton Crump and the Mellow Tones at only thirteen years of age. Always a leader, when he moved from Indiana to Chicago, Illinois no one was surprised that Gilliam formed his own group called “The Rocking Soul Brothers.” At that time his group featured a little-known vocalist by the name of Chaka Khan. Later, Gilliam continued adding his soulful, R&B guitar licks to a group he called “Jerry & the Chantells” using his nickname (Jerry). This all happened when he was just barely out of high school. Hungry to expand his musical knowledge, Gilliam attended Xavier University in New Orleans, where his interest in jazz peaked. What better place to hone your talents and embrace jazz than in “the Big Easy”? As a part of the Xavier University Jazz Ensemble and under the direction of John E. Fernandez, Gilliam met a number of influential jazz personalities including Shirley Scott, Al Gray, Jimmy Forrest and even a young Wynton Marsalis. Ensemble director, John E, realized George’s talents and featured him during the taping of a CBS television special.

While earning his degree in music, Gilliam joined the popular James Rivers Band. With roots mired deeply in blues and his knowledge of R&B coupled with his classical training, Gilliam finally directed his sights towards jazz!

When he plays “Isotope,” (another Joe Henderson original) listen closely to hear

Gilliam’s bluesy overtones with a taste of Kenny Burrell and Wes Montgomery

inspiration added for good measure. Although obviously influenced by these two guitar giants, Gilliam clearly has adopted his own style and presentation. One that’s clean, clear, concise and melodic. Perhaps his attention to melody came from working with so many great vocalists, including the Neville Brothers and Luther Kent in New Orleans.

Always hungering for more knowledge and newer horizons, after graduating from Xavier Gilliam headed for California. It was here he met vocalist Elena George, who would later become his wife and life partner. They formed a group that has been working ever since.

The realization that music can heal led Gilliam to add a degree in Music Therapy to his resume. Since then, he has dedicated himself to working with the developmentally disabled for the past fifteen years, using music as a catalyst for healing.

Clearly there is something soothing, comforting and healing when you listen to Gilliam’s music on this CD. Take for instance the Sam Rivers tune, “Beatrice”, beautifully performed and unobtrusively embellished with a laid-back, mellow production. Gilliam’s portrait of Cedar Walton’s popular “Holy Land,” is highlighted by Deans accompanying drum licks singing along with the recognizable melody in percussive unison. Lambert’s bass solo is sweet and perfectly accompanied by an assortment of supportive, harmonic guitar chords. Gilliam tackles the Wes Montgomery “Jingles” tune and brings back warm memories of the style and texture of this unforgettable genius. The Dean drum solo is executed on brushes, but sacrifices nothing in the way of energy and excitement. It’s as dynamic as a Gregory Hines tap dancing.

“Laura,” eloquently executed, is tender and played with loving attention to every tone

and Horace Silver’s “Senior Blues” is one of my favorites. It picks up the pace of this CD at just the right moment. “Mo’ Joe” is three minutes of powerfully played, Straight- ahead jazz. Finally, Clifton Davis’ “Never Can Say Goodbye” bids the listener farewell in a luxurious, bluesy way. I bet you’ll want to push replay and start it all over again. I did.