Christopher Burnett’s ORIGINALS is an aptly titled gem from the longtime KC jazz musician

Hard at work since basically birth, it’s finally time for Christopher Burnett to get the credit he deserves.

The local jazz musician began playing music with U.S. Military bands at 18 years old, eventually touring throughout the country and several places in Europe. With two full-length LPs under his belt, plus one live album a few years back, Burnett is back with the ORIGINALS Quartet, composed of three of his closest associates, including himself.

Rochester native Roger Wilder—who has ensembles of his own—features on piano/keyboard, Gerald Spouts, one of the foremost bass players in the city on acoustic bass, and Morgan Rogers—who is also from the area and began playing music as a kid—on drums and percussion, accompany Burnett. Burnett’s alto sax and compositions round out the foursome, but there are some other contributors that make a stand along the way.

Vibraphonist Greg Carroll finds his time to shine on “Finally” and “Maybe,” while guitarist Will Matthews eases his way into final track “Yesteryears,” the lone guitar cut on the seven-song record. Seven, that is, if you include the alternate take to the finale track, which features a different type of production, with an almost wavering electronic noise in the background throughout.

Carroll’s contribution to opening cut “Finally” is spliced in between Burnett’s sax from the first three minutes, and Wilder’s lead piano throughout the final two. Wilder and Burnett also feature heavily on the following track “Always”—a four-and-a-half minute steady jam—with consistent drums from Rogers featured all the way through.

“Always,” “Infinity,” and “Later” are the three cuts that feature the quartet alone doing their own thing, but in much different ways. Fourth track “Infinity”—ironically appropriately named, due to being the shortest song on the record—is fun and upbeat, opening with some fast piano and sax, followed by playful percussion from Rogers. The back half is a showcase of a ranging piano solo and some bright sax, which all makes sense for the track length, with even some time for Spouts to shine.

Six-minute romp “Later” follows a different successful formula, with a slower build and more time for all the contributors to show what they have. Burnett’s sax gels nicely with Rogers’ drums, with Wilder having 90 seconds of the cut to himself, only for Burnett to come right back in to take it over. The diverse drums are met with quiet piano and bass, only for Burnett to once again gel nicely with Rogers to finish the whole thing off.

Everything culminates on the one-word, six-song experiment on “Yesteryears”—a seven-minute conclusion that couldn’t be decided upon— resulting in two mixes in the final release. The included version does not inscribe recognition for Rogers, even though heavy percussion is present, which is a bit of a head scratcher, but it’s really Will Matthews that stands out first and foremost. Burnett’s multiple sax layering at the top are nicely met with Matthews’ electric guitar around a minute in, with the two flip-flopping their way through the rest of the track. The following alternate cut features louder instrumentation and differing guitar tones. It’ll really depend on the person for which inclusion wins out.

Each listen to this short, simple, yet complex, full band piece feels new, with no catchy choruses, no ear-pleasing rhythms, and no soothing vocal harmonies to latch onto—something that makes Burnett’s art more everlasting and a tall triumph. He’s set to play at the 1st Annual Lee’s Summit Jazz Festival in Lee’s Summit, MO on June 22. More info on that event here.