Born in Baltimore, Maryland Bryan Anderson first performed in Atlanta with Drawing Lines (pop/rock) and The Will Culbreath Project (a popular jazz quartet). The combination of both styles showcases Bryan's stand between two lines. Previous albums are Without The Words, Playtime and Spice. Listening to the music of bass player Bryan Anderson one attribute comes into my mind: "authentic". There is no way to pigeonhole his music to one style. Be prepared for the unusual.

It's not only the title Beaufort Avenue or the cover which has a certain atmosphere. The album starts with Kick It. Veteran studio session musician John Rekevics impresses with his perfection on flute and sax while the arrangement of the organ sounds raw like the music of the 60's.

The title tune Beaufort Avenue reminds me on sax interpretations of Grover Washington Jr. or Kirk Whalum. This is the classical approach to the melody we know from the time of Motown Records. John Rekevics' sax speaks to the heart not the brain. Allen Phillips' chords on organ underline this conjured mood of the past.

Evan Marks best known as guitarist of the group Fattburger revives on Summer School Wes Montgomery's unforgettable sound. Bryan answers him on the right side and some sparkles are added on piano by Victor Shekhtman. Delicious!

Smokey's Cafe sounds like an alteration of Grover Washington's Just The Two Of Us. Victor Shekhtman on piano and Mitch Manker's muted trumpet are really smoking in this jazz café.

The Gizz is a further sax masterpiece of maestro John Rekevics. Also impressive the keyboard solo and Mitch Manker's excellent trumpet performance. He is currently performing and recording with Third Force (Gentle Force, Driving Force). He has also played and recorded with Fattburger (Living In Paradise, On A Roll) and Evan Marks.

All songs of this album were written, arranged and produced by Bryan Anderson. He also mixed and recorded most of these tunes. Take for example the short tune Pleasure. It was perfectly tailored for John Rekevics' soprano sax.

The melancholic Two Steppin mirrored by Mitch Manker's muted trumpet is changing its character and tempo like a chameleon.

Bryan can also follow a simple melody-line like in Eyes From Heaven. With some tones played with synth-harp and bass he creates an own atmosphere. A good melody (even if it doesn't have words) is often one that we could hum.

The swelling tone of John Rekevics' sax is spiritualizing the rising sun of a Morning Breeze. Some reggae rhythm, some knocking on wood and spoon, this is the ease and freshness of the South.

On most tunes like on Swayin John Rekevics' sax sets his marks. Although Byran Anderson is a bass player this is not a bass album like those of Marcus Miller, Victor Wooten or Brian Bromberg. There is only one exception. On the final Smiling On Us Bryan lets his bass sing the lead melody.The constant repitition of the phrase is somehow hypnotic.

Bryan Anderson's album "Beaufort Avenue" is an acoustical jewel and will certainly find its fans.