Review: Julian “J3PO” Pollack’s ‘Soul & Circuitry’

With Soul & Circuitry (Ropeadope, 2025), Los Angeles-based pianist/keyboardist/electronics wizard/producer Julian “J3PO” Pollack issues his second album on one of our most trustworthy labels. The record is his tenth overall as a leader. If you’re unfamiliar with Pollack’s other output, he’s been the keyboardist for Marcus Miller and Chris Botti and is currently a member of Terence Blanchard’s “Flow” Quintet. The latter is currently on tour and slated to appear at the 2025 Newport Jazz Festival. Few keyboardists today rival Pollack’s ability to synthesize the acoustic and the electric. His innovative use of synthesizers in jazz, fusion, hip-hop, and electronic music is dazzling, to say the least. Having recently witnessed a performance of Blanchard’s “Flow,” Pollack and guitarist Charles Altura were the driving forces in creating fusion of the highest order. Stripped to mostly a trio on Soul & Circuitry, we get a more intimate, uncluttered aural experience that illuminates Pollack’s talents.

Pollack took several deliberate steps to make this album. First, he spent three weeks composing daily sketches of raw melodies, chord progressions, and grooves. Putting discipline on himself, he aimed to finish each of these acoustic sketches by noon each day, leaving any judgment for later. He revisited these ideas after six months, forming full arrangements. Then, he recorded the album in a single day with the trio of bassist Paul “PapaBear” Johnson and drummer Anwar Marshall. During the year following his recording session, he fused the acoustic elements with electronic textures, synthesizers, and effects.  Pollack then layered in contributions from saxophonist Bob Reynolds and trumpeter Jay Jennings. In doing so, the keyboardist aimed to explore the contrasts of structure and freedom, simplicity and complexity, all for the listener to reflect on and hopefully be transported to outer worlds. 

His twelve tracks clock in under forty-five minutes in total. In the leadoff, “Open Sesame,” acoustic piano chords soon give way to a dizzying blur of electronics in the intro that lasts just over a minute. We get a pause before his trio mates enter, establishing a steady, hip-hop-like groove over which Pollack adeptly wraps acoustic, Rhodes, and synths.  The piece sets the tone for the remainder of the album. “Birthday Song,” one of three singles, rests largely on joyous and melodic acoustic piano lines that are colored rather lightly relative to the others with electronics. It is all set to a more intricate rhythmic pattern, steered nicely by Marshall and Johnson. The second single, “Bop,” has Pollock engaged mostly with a full arsenal of electronics and keyboards, leaving Reynolds and Jennings to carry the bulk of the infectious riff. Reynolds proffers an aggressive improvised solo, after which Pollack pulls out all the stops. The piece then morphs into spacey, ethereal territory before reaching an abrupt close.

“Kaleidoscope” lives up to its title, with waves and textures of electronics weaving through the dreamy piece. “Acceptance,” the third single, is a calm, reflective piece that takes us to the aforementioned outer worlds with a well-balanced mix of electronic and acoustic. It is a great example of pitting simplicity – the piano – against complexity – the electronically fused textured backdrop. “June Jacket” serves as a weird interlude while “Good Days Ahead” moves from a gorgeous unaccompanied piano intro into sections spiced with unexpected, wah-wah effect keys, and then back to a very jazzy piano in the forefront of a textured backdrop once again. It leaves a wonderful effect, much like a refreshing spring shower.  

The two horns return for “Think About It,” a provocatively pensive piece, where they blend nicely with the keys and Pollack’s improvisatory piano.  The aptly named “Dream” moves seamlessly through mostly calm sections, but Pollack opens new vistas as it unfolds. Much of the same applies to “Vol a Calgary.” Credit goes to Pollack for naming his pieces; “Fusion Fest” is another great example with a pulsating piano wrapped in electronic textures, almost evoking the early days of fusion in the hands of Chick Corea and Stanley Clarke. The closer, “Ephemeral,” follows suit with an aptly named title, perhaps the most reflective, dreamy piece in the entire set. 

Grab your headphones and delve in. You will likely emerge in a different place from where you started.

‘Soul & Circuitry’ is out now on Ropeadope Records. It can be purchased on Bandcamp.