Fathers: Nate Smith, Kiefer, CARRTOONS, Kenny Beats

A new generation of jazz meets hip-hop, soul, funk, r&b, and electronics musicians gather together as Fathers and release their self-titled debut album on Blue Note on July 10th. Producer Kenny Beats, keyboardist Kiefer, who was recently signed to Blue Note and who will come up with his first album for the label later this year, bassist and multi-instrumentalist CARRTOONS, and drummer Nate Smith (check out his 2025 LP “Live-Action”) first met in 2023 at the Montreal Jazz Festival where Nate had been artist in residence. They decided to work together in the studio and came up with 8 tracks which were supposed to be some sort of soundcheck for the newly built Putnam Hill studio, owned by Kenny. In the end, the tracks are now coming out as their first collaborative album (also out on vinyl). With guests Nicole McCabe (sax), Genevieve Artadi (vocals), Paul Castelluzzo (guitar), and strings arranged by Yasmeen Al-Mazeedi, they churn out some ethereal and highly entertaining material.

First single “Pearl”, which came out in mid June, boasts with some incredibly driving and pulsating drum work and Latin bliss and invigorating strings, which seem to come out of a late 50s soundtrack album. It has this infectious energy and spontaneity which simply oozes joy and a very special chemistry. The album opens with a very sophisticated, midtempo soul/jazz jam à la Herbie circa 1978. “Eye Level” just floats along soothingly and the more neo soul-influenced “Patchwork” is another hook-laden piece with some extra fancy vocals thrown in. We absolutely adore the thumping and chugging “Stub” where drums, keys, and bass perfectly gel. If only the pieces were a bit longer! “The Leak” is more seductive and mysterious and features some eerie and cool keys work and great Rhodes solo by Kiefer. The fact that this album works so well is perfectly summed up by Kenny: “The production on this record is meant to be invisible. If you are noticing production tricks, then it’s not working.”    

Actually, there is this certain meticulousness with the nonchalant strings on “Tomorrow, Again”, but it still sounds very accessible and atmospheric. There is more to enjoy here with the rolling and rambling “Front Yard” and the album closer “Figure 8” which includes some Lonnie Liston Smith-like vocals and ends the set on a dreamy, yet refreshing and totally alluring note. By the way, according to the press release, the group’s name was Kiefer’s idea – a funny, quirky way he addressed his collaborators around the studio.