Passages

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Joe Williams, Lester Bowie, Charlie Byrd, Nat Adderly, Gene Harris, Grover Washington, Jr.... the past year's heavenly roll call has featured an extraordinary number of influential jazz giants. Rather than dwell upon the sorrow of those losses, saxophonist Steve Wilson chooses on his new release, Passages, to reflect upon the wonderful legacies they leave behind. In many ways, it's the perfect extension of the concept of his 1998 recording, Generations, which found him playing with three musicians -- Mulgrew Miller, Ben Riley, and Ray Drummond -- he felt made it possible for musicians of his generation "to be on the path we're on." A consummate sideman who has performed throughout the world with Chick Corea's Origin for the past two and a half years, Wilson also makes great strides on Passages to establish himself as an eclectic songwriter and bandleader. For the first time ever, he's recording with his regular core ensemble of Bruce Barth (piano), Ed Howard (bass), and Adam Cruz (drums, steel pans, percussion). While Wilson is comfortable with being dubbed a jazz player, he draws upon his chief influence Eddie Harris in challenging himself to utilize the many genres of his musical experience. Straight-ahead swing jazz is at the center of the music on Passages, but Wilson's quartet also delves into strains of R&B, Afro-Cuban, and Latin music, as well as world beat on the percussion-driven interludes "Roots & Herbs" and "Wilsonian's Grain."
Passages opens with the swinging, percussive jam, "Turnin' the Corner," which features Barth's jumpy piano harmony, and a funky duet section for Wilson and guest trumpeter Nicholas Payton. The moody, Fender Rhodes-centered retro-soul piece, "Song For Anna," is a perfect showcase for Wilson's wistful flute playing, while "Eye of the Beholder" -- with Cruz shimmering on steel pans -- offers an irresistible blend of straight-ahead jazz, soulful R&B, and Afro-Cuban colors.

© Jonathan Widran /TiVo