Raised in the East Village, acclaimed and highly sought-after trumpeter Dave Guy was surrounded by hip-hop and the hustle that seemed to define the city in the 90s. During those formative days, he and his playing style were influenced by the likes of Donald Byrd and Hugh Masekela, but also by A Tribe Called Quest and De La Soul. 

His time at LaGuardia Performing Arts High School furthered this path. Guy remembers sharing playing time with Big Crown Records co-founder Leon Michels and highly sought-after drummer Homer Steinweiss. “Being in the All-City Jazz Big Band, I would see them rehearsing all the time,” the New York-born and-based musician recalls. “They were already doing things with The Dap-Kings back then—which was crazy.”

His voice as a player began to take shape and continued to be refined through his studies at The Manhattan School of Music and The New School — and then playing with Sharon Jones & The Dap Kings, Charles Bradley and Menahan Street Band, The Sugarman 3 and more. He has played on albums from the likes of Amy Winehouse, Mark Ronson, Pharrell Williams, Lee Fields, the legendary Al Green — er, correction, the Rev. Al Green — and a lengthy list of others. And adding to a growing profile, Guy currently plays with The Roots live and on The Tonight Show Starring Jimmy Fallon.

Now, if you’ve been frequenting this site over the past couple of months, you’d recall that the acclaimed musician finally steps out into the much-deserved spotlight with his full-length debut, Ruby. Slated for a September 20, 2024 release through Big Crown Records, the 12-song album sees the highly sought-after NYC scene mainstay exploring New York jazz and pushing the boundaries of the style by incorporating elements of hip-hop and soul in a way that’s both unique and modern. 

As fate would have it, a classic case of “when one door shuts, another opens” was really what got the ball rolling on the album. “I never wanted to force my own project,” Guy explains. “There was always a lot going on between things—the timing was never right.” But when The Tonight Show went on hiatus during last year’s Writers’ Strike, there was an unexpected free moment. 

Within days, Guy started recording sessions with Steinweiss and Nick Movshon (bass). What initially started out as a just an opportunity to create music, quickly took shape and direction when they ended up laying down something that felt wildly special and authentic. The result is an album that captures different moods and serves as an invitation to the world as Dave Guys sees it and feels it. 

So far I’ve written about two of the album’s singles:

• “7th Heaven,” a composition anchored around a bed of twinkling and dancing keys, a strutting Movshown bass line, swaggering boom bap drums from Steinweiss and ethereal backing coos from Clairo/Claire Cottrill serving as a funky and anthemic bed for Guy’s regal and soulful horn melody. The result is a composition that’s swaggering yet cinematic, while capturing the energy and vibe of a day — or night — in and around New York. “It has a groove and is more in line with what the guys and I are known for with Menahan Street Band, but it is also in-your-face and catchy,” Guy says. “It’s a bit of an ode to Tijuana Brass too, a Herb Alpert-esque track with a tight horn line and has that energy that pops.”
• “I’ll Follow You,” a gorgeously serene bit of counterbalance anchored around a driving rhythm section and juxtaposed by Guy’s soulful and meditative horn melody with a subtle call and response. Sonically, “I’ll Follow You” — to my ears, at least — is a bit of a synthesis of Kind of Blue-era modal compositions with J. Dilla and Stones Throw Records-like beat tapes. It feels thoughtful and warmly familiar yet new — and much like its predecessors evokes the energy and feel of Guy’s hometown.

Ruby‘s latest single “Pinky Ring” is a genre-smashing, genre-defying tune that features two distinct sections: a dreamy synth-driven introduction that quickly morphs into a swaggering boom-bap fueled jazz composition with twinkling and gently reverb-soaked bursts of keys serving as a lush, meditative bed for Guy’s effortlessly soulful and mediative melody. The result is a composition that sounds a bit like a vibey synthesis of Bob James, Miles Davis and CL Smooth-era Pete Rock.