Jim Snidero - For All We Know

Styles: Saxophone Jazz
Year: 2024
Time: 53:27
File: MP3 @ 320K/s
Size: 123,0 MB
Art: Front

(7:56) 1. For All We Know
(5:14) 2. Naima
(6:21) 3. Love For Sale
(6:32) 4. Blackberry Winter
(5:19) 5. Parker's Mood
(6:33) 6. Willow Weep For Me
(7:58) 7. My Funny Valentine
(7:32) 8. You Go To My Head

The cover photo on Jim Snidero's For All We Know features the saxophonist holding his horn out in front of his body as if he is offering it to us as a holy relic. Holy it is when he plays it; a relic it is not.

The album is Snidero's first recorded offering in a trio setting sax, bass and drums. No chording instrument. His partners in chordlessness, Peter Washington and Joe Farnsworth bass and drums, respectively are a perfect choice, guys who have played with everybody from Art Blakey, McCoy Tyner, Tommy Flanagan, Cedar Walton and so many more. They were also Snidero's bandmates on the masterful Live At the Deer Head Inn (Savant, 2021). Some called that disc a masterpiece. They may have been right.

Snidero's tone is strikingly pure, showcased all the more in the spare trio setting. Tonal beauty stood out in his previous masterpiece, Strings (Milestone Records), released originally in 2002 and re-released in a slightly buffed-up form in 2021 on the Savant label. It is even more apparent on For All We Know, with the altoist playing the familiar standards, from the title tune opener through John Coltrane's "Naima" to Charlie Parker's (there has to be a Bird song here) "Parker's Mood." Throw in Cole Porter's "Love For Sale," Rodgers and Hart's "My Funny Valentine," and the old war horse "Willow Weep For Me" and you have a classic set, played with reverence and an unmatchable feel for melodic beauty.

2024's release of For All We Know sees Jim Snidero entering his fifth decade of jazz artistry. Excellent sounds from start to finish, especially his Savant Records output that began in 2007 with Tippin'. His sound like Charlie Parkers,' Art Peppers' and Lee Konitz's is something special, like that holy relic he is holding out is made of gold, the twenty-four-carat type.By Dan McClenaghan
https://www.allaboutjazz.com/for-all-we-know-jim-snidero-savant-records

Line-up/Musicians: Jim Snidero (alto saxophone); Peter Washington (bass); Joe Farnsworth (drums)

For All We Know

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Jim Snidero Feat. Kurt Rosenwinkel - Far Far Away

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 54:09
Size: 126,1 MB
Art: Front

(6:59) 1. Far Far Away
(7:38) 2. Infinity
(7:00) 3. It Might as Well Be Spring
(6:56) 4. Nowhere to Hide
(7:52) 5. Obsession
(5:16) 6. Pat
(4:45) 7. Search for Peace
(7:41) 8. Little Falls

Far Far Away brings us ever so close to the genius of Jim Snidero. An incandescent affair built upon the pillars of new partnership and continuing collaboration, it showcases a marked consistency in craftsmanship and inventiveness that leaves no doubt as to this artist's place in the jazz firmament. Of course, seasoned listeners need no reminders about his elevated status. The vaunted alto saxophonist has been delivering dynamic performances as a leader on record for the better part of four decades, winning critics over and gaining plenty of fans with that work. Snidero's Blue Afternoon (Criss Cross, 1989) was rightly tagged as a modern classic through its inclusion in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums; he turned plenty of heads playing atop his own arresting orchestral arrangements on Strings (Miles-tone, 2003/Savant, 2021), which received the highest "Le Choc" review from Jazz Magazine (France) and saw the music and its creator cited as "belonging to a very exclusive club (Fischer, Ogerman, Sauter) of great successes in the genre"; and at the height of the COVID-19 pandemic, when gigging opportunities were risky and scarce, he found a way and triumphed with Live at the Deer Head Inn (Savant, 2021), earning serious admiration and a rare 5-star review in DownBeat Magazine.

Those offerings demonstrate an extraordinary level of artistic achievement over wide spans, as Snidero successfully charted his way through vastly different territories in his thirties, mid-forties and sixties. And with many dates in his enviable discography branching out into other areas a celebration of the organ combo on Tippin' (Savant, 2007), a look at modernistic flow in Stream of Consciousness (Savant, 2013), an intrepid immersion in Korean culture for Project-K (Savant, 2020) those highlights provide just a mere glimpse of his capabilities when in command. The portrait of Snidero truly broadens with every single entry in his catalog, and that obviously includes this landmark 25th recording.

On Far Far Away, legend meets legend for an incredible journey to the outer limits. Returning to the studio after his triumphs on the stage, the renowned altoist joins forces with inimitable guitar hero Kurt Rosenwinkel. It's a pairing that's as unlikely as it is intriguing, opening the doors of possibility for the saxophonist: "For me, Kurt is one of the great jazz figures of the 21st century. His concept of sound and phrasing are so original and compelling, yet his playing is firmly grounded in the tradition. Achieving that combination is no small feat. There's just so much there that I wanted to take advantage of as a composer."

Opting to write new material tailored to Rosenwinkel's cut, Snidero eyes the horizon and what lies beyond. And in bringing back the ace rhythm section from Live at the Deer Head Inn forward-thinking pianist Orrin Evans, in-demand bassist Peter Washington and sterling drummer Joe Farnsworth he acknowledges a winning combination of musicians while refocusing their efforts: "The live record was really all about the moment 'A token of hope, a prayer for the return of live gigs,' as London Jazz News so eloquently put it. It was just getting up there, relaxing and playing tunes that would hopefully bring some joy to folks during some difficult times. With the addition of Kurt, and the focus on originals now, this album is really quite different."

Illustrating that truth right out of the gate, Snidero sets a course to the stars for the title track. The first of many pieces to capitalize on Rosenwinkel's signature sonics, it spotlights both frontline members as euphoric soloists, highlights some significant chemistry in their matchup, and provides additional space for Evans and Farnsworth to shine. Dialing things back for the follow-up the cobalt-shaded "Infinity" the quintet plays toward straight-time seduction as it crests waves of its own creation. Reflecting the very nature of the Snidero-and-Rosenwinkel partnership, those opening numbers offer contrast while proving complementary. Switching gears with a subtly reharmonized look at Rodgers and Hammerstein's "It Might as Well Be Spring," the leader delights in the opportunity to bare his soul on one of his favorite ballads. The album's lone dip into the Great American Songbook, and one of the finest examples of Snidero's sound on record, it proves to be a model of class and sensitivity.

Returning to the realm of originals, the saxophonist delivers three consecutive winners from as many angles. The bounding "Nowhere to Hide," ripe with harmonic tension and conflicting extensions, brings piquancy to the center of the picture as Snidero's pointed lead, Rosenwinkel's liquid heat and Evans' down-the-middle designs each make strong impressions. Then "Obsession" arrives, taking shape around a simmering funk feel and serving as the only one of its kind on the playlist. Dynamic comping and interplay on the rhythm side help to create arched expressions within its well constructed framework, ultimately supporting and encouraging those at the fore. Closing this trifecta of new compositions with "Pat" a blues-based gem tapping into the spirit of the legendary Pat Martino everybody takes a moment to give due respect to a dearly departed jazz guitar icon and his enduring influence.

Adopting a reflective stance in the penultimate presentation, Snidero looks to the late McCoy Tyner's ever-relevant "Search for Peace." A breathtaking ballad that gives pause to admire both music and message, it's a perfect vehicle to accentuate the leader's tender side, Rosenwinkel's singing strings and Washington's purposeful pizzicato. Then it's back to new wonders with "Little Falls," a swinging sendoff that's right in everybody's wheelhouse. Washington's walking lines and Farnsworth's ride cymbal lay the groundwork as the group's core soloists captivate through the beauty of their ideas. Demonstrating clear direction, this exit piece, much like everything preceding it, speaks to Snidero's great attention to detail with this project: "I spent quite a bit of time thinking about the band's sound while writing how to layer certain elements such as timbre, harmony and range, to both blend and (sometimes) conflict, creating more depth. It's about putting it all together while being musical and projecting warmth. That's what I value most of all." Not surprisingly, that comes through in the wondrous mix on Far Far Away. By Dan Bilawsky https://www.allaboutjazz.com/far-far-away

Personnel: Jim Snidero: saxophone, alto; Kurt Rosenwinkel: guitar; Orrin Evans: piano; Peter Washington: bass; Joe Farnsworth: drums.

Far Far Away

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Jim Snidero - MD66

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 52:39
Size: 123,3 MB
Art: Front

(7:15)  1. MD66
(9:38)  2. Recursion
(5:48)  3. Free Beauty
(6:08)  4. Unified
(6:27)  5. Who We've Known
(6:42)  6. Un4Scene
(4:35)  7. Blue in Green
(6:02)  8. Purge

Over the course of the past three decades alto saxophonist and composer Jim Snidero has been constantly pushing himself to explore new territories and expand his outlook. In 1989 (!) his extraordinary album Blue Afternoon made its way into The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums. Later on he made his mark in the sax-with-strings department, not only playing at the top of his game, but also composing and arranging all of the music on the project. Most recently he's impressed more than a few listeners with a spate of fine albums on Savant. On this his latest release, Snidero tackles open modal forms and uses his unfettered imagination as a portal into free(r) territory, and takes his soloing to the next level by working an inside/outside approach that's rooted in the structure and style of each song but radical enough to move in wildly unexpected directions. This is a musical promised land where revelations, whether subtle or seismic in nature, are guided by revolution. ~ Editorial Reviews https://www.amazon.com/MD66-Jim-Snidero/dp/B01ICUPAHM

Personnel:  Jim Snidero (alto saxophone);  Alex Sipiagin (trumpet);  Andy LaVerne (piano);  Ugonna Okegwo (bass);  Rudy Royston (drums).

MD66

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Jim Snidero - Close Up

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:33
Size: 125,1 MB
Art: Front

(6:13)  1. Close Up
(6:42)  2. I Should Care
(8:41)  3. Nippon Blue
(5:30)  4. Windswept
(6:02)  5. Blues for the Moment
(7:34)  6. Reality
(7:22)  7. Prisoner of Love
(6:26)  8. Smash

Prose laureate Whitney Balliett coined the phrase "the sound of surprise" as an encomium for jazz. Like most of his peers, saxophonist Jim Snidero shoots regularly for this ideal. His new Milestone effort flirts with the target but doesn't quite hit the bull's-eye. An accessible program of original tunes shored up by two standards, each cogently arranged to accentuate his talents and those of his rhythm section, makes for a winsome template. The guest tenor of former label mate Eric Alexander further stacks the deck in Snidero's favor. Despite these valuable trappings, the session still registers simply as a praiseworthy post bop outing rather than one for the ages. The album's title track establishes a promising opening mood, building from a theme that's funky in the old school Horace Silverish sense of the word. Both horns solo, with Alexander's robust Trane-styled inflections garnering the slight edge. Hazeltine's jaunty ivories round out the pecking order, ending with a rhapsodic flourish atop a syncopated support of Drummond's tight traps play. Snidero handles both balladic standards without Alexander's aid, starting with a frisky up-tempo reading of "I Should Care" that highlights his lustrous tone and mercurial phrasing. "Prisoner of Love" rolls out with a similar attention to nuance and mood, bolstered by the sensitive touch of Drummond's gossamer brushes. Alexander earns first crack at "Nippon Soul" after a slippery unison head, spooling out another note-packed Coltrane-indebted solo that also carries rich tonal pigments of Shorter. Snidero answers with an equally piquant urgency, sketching sweeping pirouettes above the ripe bass throb of Gill, who then turns in a striking solo of his own.  

A trifecta of Snidero originals comes next, with the crisp Latin-flavored bounce of "Windswept" leading the pack. "Blues for the Moment" trades on the immediacy reflected in its title with another tightly scripted theme that leads into ebullient extemporizations for each of the horns. The succinctly-titled "Smash" closes the date on an appropriately energetic note as the five men pay homage to the questing hard bop sound of the Sixties. In less symbolic terms it's also a reminder of a painful injury Snidero sustained while remodeling his home. A briskly twisting tandem head bleeds directly into another string of galloping solo statements. Hazeltine and the rest of the rhythm section tail the horns closely the entire way and sustain a streamline momentum. Snidero makes mention in the notes of a desire to explore more abstract musical directions in the future. Considering the level of acumen he brings to so-called mainstream fare, it's a potential course that would certainly suit him. ~ Derek Taylor https://www.allaboutjazz.com/close-up-jim-snidero-review-by-derek-taylor.php

Personnel:  Jim Snidero- alto saxophone;  David Hazeltine- piano;  Paul Gill- bass;Billy Drummond- drums;  Eric Alexander- tenor saxophone.

Close Up

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Jim Snidero - Live at the Deer Head Inn

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 55:33
Size: 128,0 MB
Art: Front

(0:24) 1. Band Intro by Denny Carrig
(5:58) 2. Now's the Time
(6:52) 3. Autumn Leaves
(0:32) 4. Intro to "Ol' Man River"
(6:57) 5. Ol' Man River
(7:02) 6. Bye Bye Blackbird
(6:48) 7. Idle Moments
(7:00) 8. Who Can I Turn To
(8:11) 9. My Old Flame
(5:44) 10. Yesterdays

This album documents that rarest of events from the past few months: a live jazz gig recorded in October 2020 in front of a live audience who truly and audibly appreciate what the players can do. The quality is truly excellent however, this listener did find the mind prone to wander, drawn by an irresistible temptation to start thinking about what the album represents, the circumstances in which it was made, the story it tells, rather than listening to the album itself. The economy/ecology of putting on music in small venues has always been fragile, but an album like this, and the level of craft and inventiveness to be witnessed, sets one pondering about the things which we have always assumed we could take for granted. Given that it increasingly seems that small-venue gigs might be among the last economic sectors to be “unlocked”, this album makes me want to reflect on what it will take to ensure that the people who have the community-minded instinct and the imperative to make these things happen can continue to do so. That train of thought does inevitably lead to far more questions than answers…

And there’s another reminder of how ephemeral the scene is: the Deer Head Inn in Delaware Water Gap, Pennsylvania is proud to declare itself as the country’s “oldest continuously running jazz club”. In other words, no club in the whole of the US has attained the longevity of this one. This was the venue where, more than half a century ago, a teenager from nearby Allentown called Keith Jarrett received the benefit of encouragement to try sitting in with the house band. And so he did, not just on piano, but also so I read on drums…

The instigator of the gig recorded here is Jim Snidero, an alto saxophonist originally from the Bay Area of California, now also a respected educator with a teaching post at the New School in New York. He had booked a trio of the very best to play with him on this, his first gig in more than half a year. To be reminded just how good all four of them are is perhaps the greatest pleasure of hearing this session. Above all, for me at least, that was the case for that very special bassist Peter Washington. He was a Jazz Messenger back in the mid- to late- 1980s and since then has been a sideman on literally hundreds of albums. Bassist in the trios of Tommy Flanagan and then Bill Charlap, Washington is just astonishingly, consistently, jaw-droppingly good. His solo lines always have a direction, an interest, a story, a particular personality. There is a special moment on Autumn Leaves when he is left completely on his own to solo. I had somehow hoped to be able to write at this point that the sheer authority of his playing had not just compelled the band but also the Deer Head Inn audience to be silent, to listen to him in awe, not to miss a note… but facts have a way of getting in the way of a good story: this and one other track (unspecified in the liner notes and press materials) were not actually a part of the set that night, but were recorded later in the same space, and not at the live gig. That said, it is the playing that counts, and Washington is just stupendous.

Drummer Joe Farnsworth, who once upon a time learnt from Alan Dawson who also taught Tony Williams, Terri Lyne Carrington… is, as ever, both empathetic and in the pocket. Farnsworth is unshowy but unbelievable. Harold Mabern once told me in an interview “Joe Farnsworth is probably the best drummer playing jazz” – and on the evidence of this, I would certainly not demur. More distractions…The fact that this release happens to coincide with an announcement from Orrin Evans that he is leaving The Bad Plus after three years to concentrate on other projects is another sideways thought which takes the mind away from the act of listening. Evans is on fine form here, and the sheer presence and (there might not be a better word) perfection of the Washington/Farnsworth tandem allows the pianist to relish plenty of “out” playing in a joyous, unpredictable way that always sounds fresh and interesting rather than contrived. He is also a wonderfully discreet accompanist notably in My Old Flame.

And Jim Snidero himself is well summed-up in a recent Guardian album review by Dave Gelly. Musicians evolve sometimes we can forget that obvious fact and it is indeed his ballad playing, notably on Ol’ Man River, which does draw the listener in best. There is also a neat touch that he decided to start the set with Parker’s Now’s The Time. Parker’s daughter Kim was in the audience, and her voice is audible shouting “Yeah” at the end of one of the tracks. It is a very good thing that Live at the Deer Head Inn exists. It feels like a token of hope, a prayer for the return of live gigs, of interaction, and of rebuilding communities drawn together by a passion for great live music. As the Deer Head Inn’s most famous alumnus once remarked (and with rather greater assuredness than the teenager who once played there): “Jazz is there and gone. It happens. You have to be present for it. That simple.” ~ Sebastian Scotney https://londonjazznews.com/2021/03/22/jim-snidero-live-at-the-deer-head-inn/

Personnel: Jim Snidero (alto saxophone), Orrin Evans (piano), Peter Washington, bass), Joe Farnsworth (drums)

Live at the Deer Head Inn

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Jim Snidero - Project-K

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 53:27
Size: 122,7 MB
Art: Front

(7:46)  1. Han
(6:49)  2. DMZ
(6:49)  3. Jeju
(5:57)  4. Mother
(5:40)  5. Jenga
(6:44)  6. Seoulful
(7:10)  7. Goofy
(6:29)  8. Han O Bak Nyun

Over the course of the past four decades, and the 20-plus albums produced under his name, Jim Snidero has carved out his rightful place in the pantheon of the music. The esteemed alto saxophonist’s explorations have proved boundless, moving from downhome atmospheres to broad reflections on the American experience, refined string settings to probing realms, and nods to totemic figures to cathartic statements addressing personal loss. Having additionally worked with everybody from Brother Jack McDuff to Toshiko Akiyoshi to Frank Sinatra, established himself as a game-changing author, and taken his music and messages to concert halls, clubs and classrooms across the globe, it might be tempting to say that Snidero has done it all. But once again, he obliterates that assertion. With Project-K, Jim Snidero breaks new ground. Absorbing and refracting varied aspects of Korean folkways, he delves into a topic near and dear to his home and heart. “Having a Korean wife, family, and friends, I’ve been immersed in Korean culture for more than 20 years,” he shares. “Between Korean history, culture and philosophy, I felt that there was much to explore musically.” Bridging his own wide-ranging aesthetic with those very traditions, Snidero turns out one of the most distinctive dates of his career.

In choosing the personnel to flesh out this music, Snidero’s decisions proved shrewd and sound. The rhythm section, comprised of pianist Orrin Evans, bassist Linda May Han Oh, and drummer Rudy Royston, brings a rare balance of sensitivity, strength, and insight to these ventures. And trumpeter Dave Douglas serves as the perfect front line foil for the saxophonist.Connections abound across that group of five Evans was a notable presence on Snidero’s Waves of Calm; Oh and Royston, both part of Douglas’ beloved quintet, were key figures on Snidero’s Stream of Consciousness and Main Street but the sixth member of the band, who proves to be the x-factor, is new to Snidero’s world. Stepping outside the box, he brought in Do Yeon Kim, a virtuoso on the zither-like gayageum. “I wanted to use a traditional Korean instrument on Project-K and the gayageum appealed to me the most. My goal was to not simply feature the instrument as a separate entity,” Snidero explains, “but to have it fully integrated within at least some of the arrangements. Do Yeon was the first gayageum player accepted into the New England Conservatory, so she was the obvious choice.”

Together, these six honor Korea’s rich heritage while expanding musical worldviews.  That’s clear from the first, as the sound of the Korean prayer bowl, traditionally used in Buddhist meditation, offers a welcome ring on “Han.” The first of six Snidero originals on the album, it’s a statement that speaks in both mournful and resilient tones. “Koreans have endured great hardship through their history, which has contributed to a uniquely Korean feeling called ‘Han.’ Difficult to describe, and very personal, Han could be thought of as a sense of deep sorrow and incompleteness tempered by endurance and acceptance,” he notes. That opener, like the feeling it describes, proves incredibly nuanced in its expression(s). But what follows the feisty “DMZ” is something else entirely. “Do Yeon’s introduction to this piece perfectly projects what has been described as ‘the scariest place on Earth’the Korean Demilitarized Zone. The piece has many harmonic conflicts, at one point with three keys being played and including the folk song ‘Arirang’ on the gayageum. The band builds a huge amount of intensity until the final, tensely quiet cluster.”

While the band’s signature sound is set by this point, moods and subjects continue to shift. “Jeju,” a pensive and peaceful journey, beautifully reflects the nature of the South Korean island lending its name to the music, while “Mother”a tribute to the artistic creativity of Koreans” that references Bong Joon-Ho’s 2009 film of the same name brings angularity and reduced gravity into the picture (along with a larger role for the aforementioned Korean prayer bowl). The jaunty “Jenga” a K-pop cover recast in 3/4offers some traded wonders while merging genres.  The witty “Seoulful” plays on volleying intentions. And “Goofy” brings the blues and a swinging sensibility to the foreground. Then it all comes to a close with “Han O Bak Nyun,” a traditional folk song enriched by Snidero’s spiritual search and wrapped up by one last bowl ring. Working together as a single entity, these musicians capture and illuminate Snidero’s vision with incredible focus and sincerity. “Dave, Orrin, Linda, Rudy, and Do Yeon were the perfect choices for Project-K,” relates Snidero. “Individually they are musicians of the highest order. As a group, we were all able to create what I believe is both unique and inspired music.” https://nouveaufluxmusic.wordpress.com/2019/10/22/intrepid-alto-saxophonist-jim-snidero-assembles-all-star-band-with-dave-douglas-orrin-evans-linda-may-han-oh-rudy-royston-doyeon-kim-on-new-album-inspired-by-korea/

Personnel: Alto Saxophone, Producer – Jim Snidero; Bass – Linda May Han Oh; Drums – Rudy Royston; Piano – Orrin Evans; Trumpet – Dave Douglas

Project-K

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Jim Snidero - Waves of Calm

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 49:39
Size: 114,0 MB
Art: Front

(3:29)  1. Waves of Calm
(8:54)  2. Truth
(6:13)  3. Old Folks
(6:55)  4. Visions
(5:23)  5. I Fall in Love Too Easily
(6:33)  6. Dad Song
(6:28)  7. If I Had You
(5:40)  8. Estuary

Saxophonist Jim Snidero turns his adept post-bop skills inward on the introspective, if still engaging 2019 session Waves of Calm. The album, which comes on the heels of several exuberant projects including 2016's Miles Davis-influenced MD66, and 2018's Jubilation! Celebrating Cannonball Adderley, is in part a response to his father's battle with Parkinson's Disease  a struggle that ended with his passing shortly after the album was finished. While by no means a ballads album, though there are several here including a gorgeously moving rendition of "Old Folks," Waves of Calm is a work of far-eyed rumination that leaves plenty of room for searching, harmonically creative improvisation. Joining Snidero once again is his Jubilation! bandmate trumpeter Jeremy Pelt, as well as pianist Orrin Evans, bassist Nat Reeves, and drummer Jonathan Barber. Together they play with a warmth and style that is the epitome of post-bop sophistication. In some ways, the album is a balanced mix of the influences Snidero has been investigating since the early 2010s. Both "Visions," which features Evans on Fender Rhodes, and the angular "Truth" evoke Miles Davis' late-'60s modalism. Similarly, "Dad Song" is dusky Latin groover that brings to mind the classic hard bop recordings of Horace Silver. Equally evocative is the languid title track, which pulls the listener along as if floating on a boat in a soft evening breeze. As the title implies, Waves of Calm is the sound of Snidero taking a deep, tension-relieving breath before jumping back into the flow of life. ~ Matt Collar https://www.allmusic.com/album/waves-of-calm-mw0003253530

Personnel: Jim Snidero, alto saxophone; Jeremy Pelt, trumpet (2, 4, 6, 8); Orrin Evans, piano, Fender Rhodes; Nat Reeves, bass; Jonathan Barber, drums.

Waves of Calm

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Jim Snidero & Jeremy Pelt - Jubilation! Celebrating Cannonball Adderley

Styles: Saxophone And Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 53:21
Size: 130,0 MB
Art: Front

(5:38)  1. Party Time
(7:02)  2. Del Sasser
(6:40)  3. Wabash
(7:12)  4. Saudade
(7:11)  5. Stars Fell On Alabama
(7:50)  6. Sack O' Woe
(5:41)  7. Ball's 90th
(6:05)  8. Work Song

Cannonball Adderley is considered to be one of the all-time greatest jazz musicians; one whose playing projected depth and command. But, he also possessed the rare ability to connect and uplift the listener, shouting out "joy" in every phrase. For his 90th birthday, "Jubilation!" celebrates the genius of Cannonball Adderley. Beloved veterans Jim Snidero (Downbeat critics' poll) and Jeremy Pelt create a formidable front line while David Hazeltine, Nat Reeves and Billy Drummond form an incomparable rhythm section. It's an all-star lineup celebrating a true jazz giant.http://www.smokejazz.com/index.php/event-detail?eID=956

Personnel:  Jim Snidero [alto saxophone]   Jeremy Pelt [trumpet]   David Hazeltine [piano]   Nat Reeves [bass]   Al Foster [special guest, drums]

Jubilation! Celebrating Cannonball Adderley

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Brian Lynch - Peer Pressure

Styles: Trumpet Jazz
Year: 1986
File: MP3@320K/s
Time: 53:55
Size: 123,7 MB
Art: Front

(10:11)  1. Thomasville
( 8:44)  2. Park Avenue Petite
( 6:01)  3. Peer Pressure
( 7:00)  4. The Outlaw
( 9:00)  5. Change of Plan
( 4:59)  6. 'Nother Never
( 7:57)  7. I Concentrate on You

Lynch wrote three of the seven tracks, while Horace Silver, Benny Golson, Tommy Turrentine and Cole Porter penned one apiece. His trumpet sound definitely borrows from previous modern masters Freddie Hubbard, Lee Morgan & Bill Hardman, and the influence of Silver, Art Blakey's Jazz Messengers and those of the hard/post bop movement cannot be denied. The latin tinge is also prevalent on the Brazilian bossa inflected "Change Of Plan" and Silver's Afro-Cuban tinged classic "The Outlaw." These two selections serve Lynch well for future excursions away from strict mainstream jazz. A rock solid date from a promising musician whose star is on the rise. ~ Michael G.Nastos https://www.allmusic.com/album/peer-pressure-mw0000410785

Brian Lynch Sextet: Brian Lynch (trumpet, flugelhorn); Jim Snidero (alto saxophone); Ralph Moore (tenor saxophone); Kirk Lightsey (piano); Jay Anderson (bass); Victor Lewis (drums).

Peer Pressure

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Jim Snidero - Blue Afternoon

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 58:32
Size: 135,3 MB
Art: Front

(7:57)  1. Enforcement
(9:57)  2. Forethought
(8:49)  3. The Trifle
(7:40)  4. Soul Eyes
(8:07)  5. Blue Afternoon
(8:19)  6. Infant Eyes
(7:42)  7. Toro

Saxophonist Jim Snidero is an adroit jazz improviser, composer, and educator with a bent toward acoustic post-bop. An author of several books on jazz improvisation, Snidero is an in-demand clinician who has taught at the Jazz and Contemporary Music Program at the New School University, Indiana University, and Princeton. Born in Redwood City, California in 1958, Snidero actually grew up in Prince George's County, Maryland where he first began playing saxophone at age ten. However, it wasn't until junior high that he became interested in jazz. While playing in his school concert and jazz ensembles, Snidero also fell under the influence of hard bop saxophonist Phil Woods, with whom he was able to study. After high school, Snidero enrolled in the University of North Texas music program. During his summer vacations, Snidero spent time in New York studying with saxophonist David Liebman, and after graduating in 1981, he moved to the city. By 1982, he was touring the country with organist Jack McDuff, with whom he also recorded three albums. From there, he found work with such established outfits as the Mingus Big Band and the Toshiko Akiyoshi Jazz Orchestra, of which he was a member from 1983 to 2003. Snidero has also performed with a bevy of names including David Murray, Frank Wess, Mel Lewis, Jim Rotondi, Maria Schneider, and many others.  As a solo artist, Snidero made his debut with On Time in 1984. Recorded at Rudy Van Gelder's studio, the album included fellow Akiyoshi bandmate and trumpeter Brian Lynch, pianist Kenny Kirkland, bassist George Mraz, and drummer Billy Hart. From there, he delivered several more albums for the Criss Cross and Red labels, including 1987's Mixed Bag and 1989's Time Out.  The '90s were also a fertile period for Snidero, who began branching out creatively, playing with legendary singer Frank Sinatra from 1990 to 1995, and authoring several jazz pedagogy books. During this period, he continued to release a steady stream of hard bop-influenced albums including 1990's Storm Rising, 1991's Urban Tales with trumpeter Tom Harrell, and 1997's Standards + Plus, his first largely standards-oriented recording. 

He rounded out the decade with a tribute to saxophonist Joe Henderson with 1999's The Music of Joe Henderson on the Double-Time label. At the turn of the millennium, Snidero began refocusing his work on his own original compositions with albums like 2002's orchestral Strings, featuring pianist Renee Rosnes, and 2004's Close Up, with saxophonist Eric Alexander. Beginning with 2007's Tippin', Snidero developed a fruitful relationship with Savant Records, returning with albums like 2009's Crossfire and 2011's Interface, both of which featured guitarist Paul Bollenback. Subsequent Savant albums, like 2013's Stream of Consciousness and 2015's Main Street, also found Snidero continuing to push himself creatively, collaborating on new material with bassist Linda Oh and drummer Rudy Royston. In 2016, Snidero released MD66, which found him drawing inspiration from Miles Davis' second great quintet of the '60s, backed by a stellar ensemble featuring Royston, trumpeter Alex Sipiagin, pianist Andy Laverne, and bassist Ugonna Okegwo. ~ Matt Collar https://www.allmusic.com/artist/jim-snidero-mn0000349095/biography

Personnel: Jim Snidero (alto saxophone); Brian Lynch (trumpet); Mike LeDonne, Benny Green (piano); Kenny Washington, Marvin "Smitty" Smith (drums).

Blue Afternoon

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Jim Snidero - Tippin'

Size: 121,3 MB
Time: 52:01
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz
Art: Front & Back

01. Tippin' (5:15)
02. Let's Be Frank (Dedicated To Frank Wess) (5:41)
03. Young Like (6:39)
04. The More I See You (5:46)
05. Lover Man Oh Where Can You Be? (5:28)
06. You Stepped Out Of A Dream (4:28)
07. K2 (6:32)
08. Alone Together (7:01)
09. Fried Oysters (5:08)

Altoist Jim Snidero started his professional career in 1981 by playing for a year with organist Jack McDuff. After nearly a quarter-century of other musical experiences, he sat in with his friend, organist Mike LeDonne, in 2006 and enjoyed returning to the basic blues, ballads and standards. Their 2007 recording features Snidero playing more boppish and a bit more basic than one might expect, perfectly fitting into the idiom. He caresses the melodies of ballads and brings out the bluish side of the faster tunes. Snidero also contributes three swinging originals, including a tribute to Frank Wess, "Let's Be Frank." Mike LeDonne shows once again that he is one of the top organists around today while guitarist Paul Bollenback and drummer Tony Reedus are as consistent, swinging, and stimulating as ever. ~by Scott Yanow

Tippin'

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Jim Snidero - Stream Of Consciousness

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 51:30
Size: 118,4 MB
Art: Front

(7:18)  1. Stream Of Consciousness
(9:04)  2. Nirvana
(4:58)  3. Fear One
(9:17)  4. Vantage
(6:14)  5. Black Ice
(7:39)  6. Wisdom's Path
(6:56)  7. Town

The jazz world would likely forgive saxophonist Jim Snidero if he fell prey to artistic stagnation every now and then, but he might not forgive himself. He's kept a steady flow of solo albums coming through the pipeline for a quarter century and, while other artists who are equally prolific find themselves falling back on tired formulas and the same old tunes to fill out their records, Snidero continues to surprise with each addition to his discography. When Snidero arrived at the Savant label in 2007, he pulled the pianistic rug out from under himself, making Paul Bollenback his new go-to harmonic companion; he's been working different scenarios, with the guitarist by his side, ever since. Tippin' (2007) took Snidero back to organ territory, which he explored earlier on as a sideman with Jack McDuff; Crossfire (2009) found the saxophonist mixing it up on bop, ballad and bossa-based tunes, while Interface (2011) broadened the sax-guitar-drum-bass viewpoint of its predecessor by adding acoustic guitar to the mix and bringing young gun drummer McClenty Hunter into the fold. Now, Snidero brings something new to the table again. Stream Of Consciousness, while working off the same instrumental template as Snidero's two prior releases, is vastly different. Snidero moves further afield than ever before, pushing the envelope in all the right ways. Free jazz filigree doesn't find its way into his work, but Snidero does go out on a limb here with probing tunes that push at the walls of convention ("Stream Of Consciousness" and "Fear One"). His version of outward-bound music still retains firm structure in most respects, with modal manners and pulsating cymbals grounding the title track, for example, but they look toward the great beyond and feel free of the shackles of jazz norms and niceties.

Drummer Rudy Royston and bassist Linda Oh, two first-call rhythm guns on the New York scene who've established a strong bond while working together with trumpeter Dave Douglas, deserve much of the credit for the fresh sounds on this CD. Royston's rocket fuel-propelled drumming is at the center of the title track and "Fear One," and Oh's slick-as-hell bass makes "Black Ice" the grooving stand out on the album. They prove equally important in waltzing scenarios ("Wisdom's Path") and blissful states ("Nirvana"). Snidero has never sounded better. The creative and tonal hallmarks that have made him such a respected player remain intact, but his fiery disposition is balanced with a focused and friendly quality, slicing through the mix or simply drawing focus and floating in the musical ether that surrounds him on "Vantage." This may be the strongest album in a discography packed with winners. A change, once again, has done Snidero good; while Stream Of Consciousness may not be typical for him, what is? ~Dan Bilawsky https://www.allaboutjazz.com/stream-of-consciousness-jim-snidero-savant-records-review-by-dan-bilawsky.php
 

Personnel: Jim Snidero: alto saxophone; Paul Bollenback: guitar; Linda Oh: bass; Rudy Royston: drums.

Stream Of Consciousness

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Jim Snidero - Interface

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 55:25
Size: 128,0 MB
Art: Front

(6:47)  1. Interface
(6:12)  2. Silhouette
(4:56)  3. Fall Out
(8:44)  4. One by One
(5:54)  5. Aperitivo
(7:45)  6. Viper
(6:37)  7. After the Pain
(8:26)  8. Expectations

The digital age has completely changed the way language is used. People talk about "googling" things, discovering new "apps," and "friending people" all the time, so it wouldn't be surprising if the word "interface" eventually replaces "communication" in common, everyday conversations. Interfacing can essentially be viewed as a modern day synonym for communication, and that, after all, is one of the cornerstones of jazz. Saxophonist Jim Snidero knows this all too well. With an impressive résumé as a sideman, decades of performing experience under his belt, fifteen prior leader dates which showcase his talent, and a reputation as one of the biggest names in jazz education, thanks to his Jazz Conception books, Snidero has shown that communication with listeners and other musicians is key to success. Interface is a logical successor to Crossfire (Savant, 2009), which found the saxophonist utilizing guitar in place of piano, but it isn't more of the same thing. Paul Bollenbacks use of acoustic guitar on a number of tracks, the impressive drumming from newcomer McClenty Hunter, and the decision to make this an all-original date, help to make this album stand apart from Snidero's prior record.

Three-quarters of the Crossfire band is on board here, with rock-solid bassist Paul Gill filling out the roster, and this band of musical brothers is in sync every step of the way. Gill anchors the band through a variety of settings and, on the rare occasion that he solos ("Expectations"), he manages to perfectly capture the mood of the music. Bollenback's playing is almost beyond words, and he comes at each song in a different way. He delves into bluesy soul soloing that would make Grant Green proud ("After The Pain"), strikes at the heart of the music with power and aggression ("Fall Out"), and astonishes with his stellar technique ("Viper"). While Bollenback and Snidero each have own unique voices on their respective instruments, both players have a shared trait in their playing, which speaks of sincerity and honesty, regardless of the setting. Snidero might make powerful calls to the wild at one moment ("Viper") and naked, intimate gestures at another ("One By One"), but it all comes across with clarity and sense of purpose. Hunter hasn't been part of Snidero's world for as long as the other players, but he makes his mark on this album. He always finds a way to get to the core of each piece, whether the music calls for easy swing ("Expectations"), virtual nothingness that's felt more than heard ("One By One"), or something a bit more potent ("Fall Out" and "Viper"). These eight Snidero originals make it abundantly clear that these four men can interface with the best of them.~Dan Bilawsky https://www.allaboutjazz.com/interface-jim-snidero-savant-records-review-by-dan-bilawsky.php
 

Personnel: Jim Snidero: alto saxophone; Paul Bollenback: guitar; Paul Gill: bass; McClenty Hunter: drums.

Interface

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Jim Snidero Quartet - While You Are Here

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 54:36
Size: 125,4 MB
Art: Front

(5:45)  1. While Your Here
(6:44)  2. Intimacy
(6:44)  3. A Few to Many
(4:18)  4. Fly Little Bird Fly
(7:57)  5. State Of Affairs
(9:25)  6. I Concentrate On You
(6:49)  7. I Can't Get Started
(6:50)  8. Front Line

A fine post-bop improviser and alto saxman, Jim Snidero is a bit underrated but is well-appreciated by his fellow musicians. He attended the University of North Texas and moved to New York in 1981. Snidero toured and recorded with Jack McDuff, he's been a member of the Toshiko Akiyoshi Jazz Orchestra since the mid-'80s, has worked with the backup bands of Frank Sinatra and Eddie Palmieri, and has spent time playing with the Frank Wess Sextet, the Mel Lewis Orchestra, and the Mingus Big Band. As a leader, Jim Snidero has recorded for the Japanese East World label (1984), Ken, Square Discs, Red, and Criss Cross. He has also recorded as a sideman with Brian Lynch, Conrad Herwig, and Tom Varner, and been active in jazz education both as a teacher and as an author of instructional books. ~ Scott Yanow  https://itunes.apple.com/us/artist/jim-snidero/id218375938#fullText

Personnel: Jim Snidero (alto saxophone); Benny Green (piano); Tony Reedus (drums).

While You Are Here

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Joe Magnarelli - Always There

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 60:53
Size: 140,7 MB
Art: Front

( 8:42)  1. I'm Old Fashioned
( 6:17)  2. Allison's Welcome
( 8:01)  3. I Fall in Love Too Easily
( 4:52)  4. J.J.'s Busride Blues
(10:36)  5. Always There
( 8:20)  6. Rah-Sah
( 7:35)  7. Waltz for Aunt Marie
( 6:26)  8. Put On A Happy Face

Trumpeter Joe Magnarelli's second Criss Cross CD, Always There, is easily the equal of his impressive debut. Leading an all-star sextet that has percussionist Daniel Sadownick on two of the eight selections, Magnarelli performs modernized versions of three standards and five of his originals.

The music fits securely into hard bop and not only features warm solos from the leader but heated statements and trade-offs by baritonist Gary Smulyan and altoist Jim Snidero. Alternating driving pieces with thoughtful ballads, Always There is a memorable effort and makes one realize that Magnarelli would have fit in perfectly with Art Blakey & the Jazz Messengers. ~ Scott Yanow  http://www.allmusic.com/album/always-there-mw0000035296

Personnel: Joe Magnarelli (trumpet); Jim Snidero (flute, alto saxophone, piano); Gary Smulyan (baritone saxophone); Larry Goldings (piano); Kenny Washington (drums); Daniel Sadownick (percussion

Always There

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David Hazeltine - Good Hearted People

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 55:39
Size: 127,8 MB
Art: Front

(7:22)  1. Blueslike
(6:06)  2. Caliente Blues
(6:41)  3. Imagination
(6:58)  4. Demasiado Dulce
(7:12)  5. Good-Hearted People
(8:12)  6. Quiet Now
(6:37)  7. Cozytine
(6:28)  8. Barbados

Another solid Criss Cross date from David Hazeltine, this one featuring an unusual front line: Jim Snidero on alto sax and Steve Davis on trombone. (Straight-ahead groups more routinely feature trumpet and sax, with trombone as a possible third horn.) Bassist Nat Reeves and drummer Tony Reedus drive the rhythm; guitarist Jesse Van Ruller replaces the horns on a seductive rendition of Denny Zeitlin's "Quiet Now" and joins the full band for a closing romp on Charlie Parker's "Barbados." Steve Davis gets two writing spots with the deliciously relaxed "Cozytine" and the sun-bright, hard-swinging title track. Hazeltine's two creations are the grooving, mid-tempo "Blueslike" and the moody bossa "Demasiado Dulce." (Snidero plays flute on the latter.) ~ David R.Adler  http://www.allmusic.com/album/good-hearted-people-mw0000014383 

Personnel: David Hazeltine (piano); Jesse Van Ruller (guitar); Jim Snidero (flute, alto saxophone); Steve Davis (trombone); Tony Reedus (drums).

Good Hearted People

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Walt Weiskopf - Song For My Mother

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:43
Size: 121,0 MB
Art: Front

(7:09)  1. Outsider
(5:18)  2. Three Armed Man
(6:41)  3. Barebones
(5:26)  4. End of the Year So Soon
(7:10)  5. Song for my Mother
(5:40)  6. High Noon
(5:26)  7. You Won't Forget Me
(4:06)  8. Where Is Love?
(5:42)  9. Turncoat

Weiskopf's talent broadens into the arranging field on this excellent album. The tenor saxophonist, a graduate of the Eastman School of Music and a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi-Lew Tabackin, employs a nonet: four woodwinds, trumpet, trombone, piano, bass and drums. His charts put you in the mood of Gil Evans, Herbie Hancock and Duke Pearson. His tenor, reminiscent of Trane, Charles Lloyd and a cooler Mike Brecker, threads through the arrangements in integral fashion.

Anders Bostrom's virtuosic flute and alto flute are prominent in solo on three Weiskopf originals. Here and elsewhere, the flutes and alto flutes (all the reedmen double) color the band, giving it a pastel or glowing character. Jim Snidero (alto saxophone) and Scott Robinson (baritone saxophone) cook in their respective solos. Trumpeter Joe Magnarelli and trombonist Conrad Herwig complete the horns, with Joel Weiskopf (piano), Peter Washington (bass) and Billy Drummond (drums) in the rhythm section. ~ Owen Cordle  http://jazztimes.com/articles/8386-song-for-my-mother-walt-weiskopf

Personnel: Walt Weiskopf (tenor saxophone, flute, alto flute); Jim Snidero (alto saxophone, flute, alto flute); Scott Robinson (baritone saxophone, flute, bass clarinet); Joe Magnarelli (trumpet); Conrad Herwig (trombone); Anders Bostrom (flute, alto flute); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Song For My Mother

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Walt Weiskopf - Siren

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 51:03
Size: 117,2 MB
Art: Front

(1:56)  1. Galss Eye
(8:36)  2. Siren
(8:00)  3. In A Daze
(5:13)  4. Close Your Eyes
(6:37)  5. Victory March
(6:20)  6. Night in Ferrara
(6:17)  7. Zone
(2:20)  8. Baby Won't You Please Come Home
(5:41)  9. Separation

It’s very fitting that in the liner notes to saxophonist and composer Walt Weiskopf’s sixth set as a leader for Criss Cross, writer Bill Milkowski comments on the lack of information or publicity available to the general jazz public on the intrinsic worth of Weiskopf. Whole heartedly concurring, this reviewer has felt that the world has been too long asleep on Weiskopf’s efforts to expand the jazz tradition in a way that maintains conventions but also allows for individual expression to reign supreme. And maybe it’s because Weiskopf’s art is not flashy in the radical sense (you won’t find electronics, hip hop scratchers, or rappers here) that he continues to remain just a bit out of the range of everyday radar. As a significant follow-up to his previous nonet recording, the sublime and wonderful Song For My Mother, the recently issued Siren is every bit as powerful. In fact, aside from the substitution of bassist Doug Weiss for Peter Washington, the same cast of characters is again assembled, with Conrad Herwig, Jim Snidero, and brother Joel Weiskopf proving to be dependable soloists throughout. It should also be said that one couldn’t envision such a record without the talents of drummer Billy Drummond. His capacity to spur on each soloist and to add color to the ensemble is without equal.

Weiskopf’s writing remains one of his biggest assets, although this time around we also get two standards thrown into the mix, along with an original apiece from Snidero and brother Joel. The opening and brief “Glass Eye” makes the most of some angular counterpoint before the loping title track sets the stage. The sunny ensemble sports a muted Joe Magnarelli on trumpet and Anders Bostrom on flute, the latter contributing a breathy solo of his own later on in the track. “In a Daze” is a Snidero line in waltz tempo and Weiskopf’s Coltrane-inspired bursts of energy are purely delightful. Then the tenor man gets romantic with “Close Your Eyes,” a lush arrangement including Bostrom’s lovely flute once again. Further highlights include another ¾ line, “Waltz in Ferrara” and “Zone,” a brisk track that finds the horns shouting from the git-go and Scott Robinson’s gutsy baritone sax taking a bow (long live the Pepper Adams legacy!). Whether or not this record will bring Weiskopf some additional fans is hard to say. Certainly the sense of artistic veracity and sheer joie de vivre presented here is beyond reproach and only the most foolish would selectively choose to ignore its implications. ~ C.Andrew Hovan  http://www.allaboutjazz.com/siren-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf (tenor sax), Anders Bostrom (flute & alto flute), Jim Snidero (alto sax & flute), Scott Robinson (baritone sax & bass clarinet), Joe Magnarelli (trumpet), Conrad Herwig (trombone), Joel Weiskopf (piano), Doug Weiss (bass), Billy Drummond (drums)

Siren

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Jim Snidero - Main Street

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:16
Size: 117,7 MB
Art: Front

(5:21)  1. Duluth at Noon
(6:39)  2. Post Time Saratoga
(6:34)  3. Las Vegas Tango
(4:33)  4. Oxford Square
(7:18)  5. Autumn In New York
(6:31)  6. Born In Redwood City
(6:05)  7. Walla Walla
(8:11)  8. The Streets of Laredo

A determinedly straightahead alto saxophonist, Jim Snidero staffs his Main Street quartet with determinedly adventurous young musicians and gets them swinging along with him. It’s no surprise to hear that pianist Fabian Almazan, bassist Linda Oh and drummer Rudy Royston have the meat-and-potatoes bop chops that a Snidero record requires; it is, however, invigorating.Those musicians sneak in bits and pieces of their own conceptions, too. Snidero’s soulful blues “Post Time Saratoga” features scorchers from Oh and Snidero, and behind them, Royston’s latticework marks him as the best decorative drummer in the business. (He continues to prove it throughout, topping himself with a reason-defying solo on the closing “The Streets of Laredo.”) Almazan matches that artistry with subtle figures and note choices that fatten up his comp lines, then bursts forth with a solo that explodes both the tune’s rhythmic and harmonic framework. He does the same on “Duluth at Noon,” “Walla Walla” and “The Streets of Laredo,” making him the album’s MVP.

Oh has tricks up her sleeve, too. When Royston and Almazan ratchet up to double time in “Duluth,” she steadfastly maintains the original tempo even as it displaces her accents. She also finds new ways to express the pulse with every bar of “Las Vegas Tango,” and offers perhaps the album’s best improvisation with her nuanced light touch on “Autumn in New York.” Snidero, meanwhile, maintains the consistent gifts that have marked his 30-plus-year career: juicy sax work crafted with soul, flawless tone and a keen sense of narrative (his solo on “The Streets of Laredo” rivals Oh for album best). His compositions are impressive, too, eking surprises out of licks in “Duluth at Noon” and building a durable melody out of a mixed meter and an R&B lick on “Born in Redwood City.” Main Street is a solid addition to his résumé.

Personnel: Jim Snidero (alto saxophone); Fabian Almazan (piano); Rudy Royston (drums).

Main Street

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