Twin Cities guitarist/composer Paul Renz may be best known as Director of Jazz Studies at the West Bank School of Music but his chops as performer and composer are also well established by his six previous recordings. Described variously as “neatly balancing taut and tuneful charts with spontaneous solos” (Tom Surowicz re Everlasting), “a challenging guitarist who keeps the pot boiling” (Frank Robolino re Dish It Up) with “impressive compositional and instrumental chops” (Dan Emerson re Hubbub), he took his most recent Rebop (2007) “well beyond bop, revisiting, reimagining, running circles around it” (Jazz Police). But Renz raises the bar even higher with his new release, In My Own Hands, a set of nine original compositions brought to swinging, funky, joyous life by his Rebop cohorts, flautist Anders Bostrom, keyboard specialist Brian Ziemniak, bassist Eric Graham and drummer Nathan Fryett.   

There’s an air of fusion throughout, particularly on the organ tracks, yet it’s a jazz-driven set filled with plenty of space for thoughtful solos, energetic duels, and respectful collaboration. There’s just enough funk to engage the feet as well as the ear and brain, and particularly Bostroms’ flutes and Zeimniak’s keys seem to bring out the best in Paul Renz. The title track features a long repeating theme, with Graham groaning like an old door. Ziemniak brings a melodic B-3 to “Bluesing” that also features guitar and flute asserting the theme in unison. “First Impressionism” has a Monk-flavored opening theme (“Misterioso” comes to mind), built around a four-note pattern, sounded first by Renz, followed by piano and bass, moving into an abstract exchange between Ziemniak and Bostrom.  “Take it Home” is a bubbling conversation between Ziemniak on Hammond B-3 and bassist Eric Graham, who crisscrosses the strings as if weaving a funkhouse tapestry. “Near or Far,” on the other hand, rolls off Renz’s guitar with an airy elegance buoyed by acoustic piano—Ziemniak’s solo here is gorgeous and lacey, while Bostrom’s bass tones on flute are hollow and haunting. But this one really belongs to the composer himself, his songful passages hanging in air with nearly as much resonance as Bostrom’s flute. Graham and Fryett seem both near and far as a soft undercurrent. Renz swings through “I Don’t Know Why I’m Glad,” paving the way for Bostrom’s acrobatic flute and Ziemniak’s equally agile B-3. Bostrom stars on the closing “Off the Cuff,” a Latin-flavored cast party. 

In sum, Paul Renz has assembled not only a set list highlighting the diversity of his compositions, but an ensemble that easily moves from one mood to another without breaking stride—it’s a grand mix of elegance, funk and fun. Renz is masterful, “in his own hands” and in good company.

Purchase In My Own Hands

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