James Zito, Zito’s Jump Review

Tradition in Motion: James Zito’s Zito’s Jump

By Nolan DeBuke

New York-based guitarist James Zito, affectionately dubbed “The Natural” by Artslife Magazine, makes an emphatic and authentic statement with his debut album, Zito’s Jump. Released on April 18, 2025, this self-produced project marks the 28-year-old guitarist sound whose roots run deep in the jazz traditions of Wes Montgomery, Les Paul, and George Benson. A graduate of Juilliard’s Artist Diploma program, Zito has cultivated a formidable presence across New York’s premier jazz venues, sharing stages with Wynton Marsalis and Rodney Whitaker. With accolades, including first place at the Wilson Center International Guitar Competition, Zito’s Jump is a clear culmination of years steeped in study, performance, and a personal vision for hard bop vitality in a modern context.

Zito’s sound is built upon a reverent foundation: the swing-rooted phrasing of Montgomery, the warm tone of Benson, and the harmonic sophistication of the hard bop ear. Zito’s playing is an organic and sincere continuation of the lineage.  Throughout the album, Zito’s distinct melodic inventiveness and rhythmic elasticity reflect this statement. His compositions often lean into contrafact structure, crafting new heads over classic harmonic frameworks, while his stylistic range spans from bossa nova to boogaloo, post-bop to romantic balladry. Zito’s playing is narrative in design, each solo unfolding with intention and architectural clarity.

Zito’s Jump opens with its title track, a spirited boogaloo with tight horn figures and a groove-laden rhythm section that evokes the soul-jazz energy of ’60s Blue Note recordings. Zito’s solo is marked by strong thematic ideas and a rhythmic vitality that rides just behind the beat, giving the tune a laid-back propulsion. His tone is warm, and his phrasing demonstrates a deep understanding of blues inflection within the boogaloo form.

“Bird in the Wind” captures the spirit of bebop-inflected blues. Built as a contrafact, it showcases Zito’s command of hard bop guitar language: blues vocabulary, swinging articulation, and a structured solo that evolves from single-line melodies to chordal punctuations and octave statements.

“Island Girl” moves gently into bossa nova territory, with a graceful interplay between guitar and flute that demonstrates Zito’s sensitivity as a soloist and accompanist. The arrangement is tastefully restrained, offering lyricism without excess.

“Time Zone” is rhythmically sophisticated, set in 12/8 with angular motifs that play against the barline. The rhythm section, locked in and propulsive, of Rodney Whitaker (bass) and Joe Farnsworth (drums) fuels saxophonist Chris Lewis’ and Zito’s solos with dynamic energy. Zito’s solo builds naturally into the return of the head, carried by a rhythm section that functions as a contemporary hard bop machine.

“Ready ‘N Able” expands into nonet territory, blending horn arrangements with organ trio roots. It’s a vibrant mix of classic and modern sounds, filled with blues-based guitar phrasing and groove-forward ensemble interplay.

“Pense Nisso” draws from Brazilian influences, unfolding with the quartet’s lyricism. Zito’s touch here is patient and expressive, backed by a rhythm section that knows when to play and when to let space speak.

“Minor Lies” leans into the post-bop language. The melody and changes put the players into modern harmonic territory, and Zito navigates the terrain with long-line phrasing and harmonic clarity, delving into the piece’s tension and release.

“The Nearness of You” stands apart as a romantic vocal duet featuring Georgia Heers and Tyreek McDole. Their performance unfolds like a conversation, evoking classic swing-era interplay. Zito’s guitar provides subtle harmonic support, framing the vocal lines with warmth and grace.

“The End of a Love Affair” is another Wes inspired moment. Zito’s phrasing carries the emotional weight of the joyous swing of that era. Supported by this classic arrangement, which allows the swing to speak along with moments of Latin jazz. Excellent solos from Zito and Lewis.

“After You’ve Gone” nods to vintage swing guitar traditions. The band swings with bounce and clarity, while Zito’s solo dances with classic swing guitar lyricism, echoing early electric jazz aesthetics like expressive bends and catchy motifs.

“It Could Happen to You” places Zito in a jazz ballad with organ, where his melody playing truly shines. He states the melody in the guitar’s lower register first, then in octaves before culminating in beautifully voiced harmonies that complement the organ’s texture. His rhythmic buoyancy and harmonic flow evoke the classic stylings of his influences, reframed through his own voice.

“After You’ve Gone (Alternate Take)” provides a second perspective on the earlier jazz guitar stylings. Here, Zito stretches rhythmically and harmonically, revealing his spontaneous side and offering a relaxed sendoff to the album.

The supporting ensemble across Zito’s Jump is exceptional. Rodney Whitaker’s deep, resonant bass lines anchor each groove with authority. Joe Farnsworth brings swing and snap to the drums, while Luther Allison’s piano provides both comping color and solo clarity. The horn arrangements are tight and purposeful, especially in tracks like “Ready ‘N Able,” where ensemble writing lifts the arrangement without overshadowing the soloists. Guest vocalists and additional instrumentalists integrate seamlessly, expanding the album’s palette without breaking its cohesive character.

The recording, mixing, and mastering are clean and dynamic, with a warm, natural sound that favors live ensemble feel over studio perfection. The guitar tone is articulate and full-bodied, and the mix gives Zito space to lead without dominating the ensemble. The production choices reflect a clear artistic vision: to honor the feel of classic recordings while embracing the fidelity of modern jazz engineering.

Zito’s blend of tradition and individuality and the ensembles’ depth, coherence, and passion makes for an outstanding listening experience. Zito’s Jump is a confident and deeply informed debut, presenting James Zito as a virtuosic guitarist, thoughtful composer, and bandleader with a clear artistic identity. He bridges tradition and innovation without compromise, delivering a record that honors his influences while charting his own trajectory. The future looks bright and swinging.