Jon Dalton: Carousel

Jon Dalton, a Los Angeles-based guitarist with roots in the UK and Native American descent, brings an intriguing musical background to Carousel. Having toured with hard rock and heavy metal bands among other genres, Dalton sharpened his jazz chops along the way, blending that grit with the fluidity of jazz. The result is a collection of strong, memorable compositions that weave contemporary jazz fusion with traces of pop-rock, making for an eclectic yet accessible sound.

Dalton first made waves as a leader with his 2003 release, The Gift (ODAP Music), which hit #1 on New York's CIM Jazz Chart and continues to enjoy sync placements and rotation worldwide. In Carousel, Dalton pushes his sound further, blending modern and traditional influences in a fresh but grounded way.

The album kicks off with "Spaceship Orion," a radio-friendly opener that hooks the listener from the start. The melody dances playfully yet purposefully, with Dalton's guitar work balancing technical finesse and heartfelt emotion. His riffs shimmer like the title's celestial reference, while John-Paul Gard's soul-drenched organ and Dalton's laid-back vocals warm the track's cosmic swing. It feels like the perfect setup for the album's overarching theme—an exploration of joy, movement, and discovery.

Next up is the title track, "The Carousel," which feels like stepping into a bright, sunny day. Dalton's mid-toned, Wes Montgomery-like chord progressions and the band's clever use of knotty time signatures keep things lively and vibrant. The track feels nostalgic and fresh simultaneously, much like its namesake ride: familiar, but full of new twists at every turn.

Dalton also pays tribute to jazz legends, putting his spin on John McLaughlin's Mahavishnu Orchestra classic "Smile of the Beyond." He infuses it with a modern uplift, adding fresh energy to the piece without losing its core intensity. His take on Rodgers and Hart's "Have You Met Miss Jones?" flips the standard on its head, transforming it into a gritty, fusion-laden groove with dashes of soul and funk. It is a bold reimagining that feels daring yet respectful of the original. And then there's "Out of the River," a straight-ahead swing tune that gives Dalton ample room to highlight his dexterity and creativity, peppering fluid runs across the fretboard with colorful flourishes.

Carousel shows that Dalton is not content to stay in one lane—he is a musical multitasker while maintaining a cohesive sound. The album, much like its title suggests, spins you around in joyful circles, delivering surprises at every turn without losing its sense of fun.

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