James Zito, Zito’s Jump Review

by Jeff Becker

James Zito arrives with more than chops, he brings polish. At 28, the Juilliard-trained guitarist has already shared stages with the likes of Rodney Whitaker and Wynton Marsalis, and his résumé includes first-place finishes at the Wilson Center International Guitar Competition. Zito’s Jump is his self-released album that carries the hallmarks of a jazz guitar statement: clean production, airtight band chemistry, and stylistic coherence throughout. He’s poised as a leader ready for straight-ahead jazz fans and jazz guitar aficionados.

Zito’s playing synthesizes Montgomery’s swing phrasing, Benson’s melodic contouring, and Les Paul’s harmonic layering, but the result isn’t derivative. His tone is warm but defined. His lines carry momentum without rushing. Most importantly, he tells a story; every solo unfolds with structural logic and rhythmic nuance. His phrasing is intentional, often starting with sparse motifs that evolve into more complex rhythmic groupings or harmonic overlays.

In the flow of the twelve-song album, this clarity reads well as a composer, arranger, and performer. He’s unflashy in the best sense, communicating a depth over dazzle.

The rhythm section is Rodney Whitaker on bass, Joe Farnsworth on drums, and Luther Allison on piano. The three operate as an integrated, responsive unit. On tracks like “Time Zone,” their interplay is key: the 12/8 groove flexes in response to Zito’s angular motifs. There’s mutual listening throughout, whether in hard bop burners (“Bird in the Wind”) or spacious Brazilian-influenced pieces (“Pense Nisso”). The group can stretch and contract time, always returning to a shared pocket.

The horn arrangements, notably on “Ready ‘N Able,” show Zito’s ability to capture the ’50s swing style of cool jazz with the expanded instrumentation. Without compromising intimacy of melody, Zito’s solo on this selection has the hallmarks of the style and a joyful energy.

Zito’s Jump offers multiple angles of Zito’s playing style, a Boogaloo and soul jazz swings the up-tempo “Zito’s Jump.” “Island Girl” and “Pense Nisso” highlight Zito’s touch with Latin textures and cross-genre adaptability. His storytelling carries his voice through with the elegance and textures of the jazz guitar canon.

The vocal duet on “The Nearness of You” looks at Zito’s chordal playing. Heers and McDole have a classic offering for us. Zito’s relaxed, steady accompaniment has elements of support and interactive countermelodies.

“Minor Lies” and “Time Zone” are Zito navigating infectious jazz grooves with changing forms without sacrificing feel. His presence focused on modern jazz audiences through the warm tones of hardbop and post-bop.

The production quality is organic and translates well to digital streaming formats. Zito’s guitar tone is never buried, even in ensemble-heavy moments, which reflects both engineering savvy and intentional arrangement. The album is a sonic adventure at every tune with well-written compositions and arrangements. With clear heads and dynamic solo developments, and defined codas. This is an album built for jazz guitar lovers.

Zito offers a rare trifecta of technical consistency, stylistic flexibility, and a clearly developed artistic voice. His work is grounded in tradition but speaks fluently to today’s straight-ahead and modern jazz currents. Zito’s Jump is a calling card with the right jazz feel ready for your attention.