Woody Witt's growth as a jazz artist continues to grow and expand well beyond his home base of Houston. His recordings are a testament to this growth and the maturation of Witt as a musician and saxophonist. Willows (Apria - 2008) represents a new peak in his development as Witt puts forth a very worthy presentation of 6 original works, 4 by the saxophonist and 2 by long-time collaborator, pianist and fellow Houstonian Joe LoCascio.
Joining the pair on the recording is a collection of fine musicians, New York-based saxophonist Tim Armacost, Dallas-area bassist Lynn Seaton, and legendary New York-based drummer Billy Hart. The musicians work extraordinarily well as an ensemble, the saxophones blending with exceptional tuning and precision and the rhythm team demonstrating the support and conversational skills that have established each as some of the finest anywhere on their respective instruments. With the collection of these musicians, Witt has further demonstrated his expanding reach into the mainstream consciousness of jazz listeners outside of Houston.
The CD is highlighted by some wonderfully open compositions which allow the musicians to really stretch ideas and converse freely. Witt's "Trance" proves a fine vehicle for really allowing the musicians to explore many different textures and sounds. Hart and Seaton are particularly locked in together and play as one while still listening to and complimenting the saxophonists. LoCascio's harmonic textures also decorate the saxophones well without detracting from the messages in the solos.
LoCascio's worthy compositional contributions include the lovely, swinging "Not Far Away" and the haunting title track "Willows," where the listener can easily visualize the melancholy, sprawling trees themselves. The saxophonists deliver a particularly engaging performance of the melody, melting into an energetic conversation as the rhythm section keeps the piece rooted to the main theme of the composition.
Another highlight is the opening track, "Passacaglia," also composed by Witt. The track features exquisite soprano work by the saxophonists, playing beautifully in tune despite the notorious difficulty of the instrument, particularly in regard to pitch. The music that comes out is also beautiful. Armacost's performance is truly insightful and pleasurable. LoCascio paints a lovely picture as well, lush and thoughtful. Witt's solo is a wonderful contrast to Armacost, fiery and pointed in Witt's usual high-energy, yet controlled and masterful fashion.
One more shining moment on the recording is Witt's lengthy, but always interesting "Howard Street." Angular in style and composition, the piece has a definite Monk influence. Hart, again, defines the style with true mastery, swinging incredibly hard. The rest of the rhythm section settles easily into the deep pocket Hart establishes to produce a brilliant backside groove for the soloists to stretch over. Witt gives another firey performance, at times angular and biting, then moving to flurries and screams that erupt with energy. LoCascio displays a lovely sense of counterpoint as the rhythm section dissolves into a spacious landscape that provides a wonderfully free canvas without ever losing the swing, later building the story back to the deep pocket of before. Hart and Seaton then alter the landscape once again for Armacost to explore a thematic statement that bounces from straight time to the ever-deep swing pocket. Seaton then provides a truly engaging arco solo that elegantly flows from heady lines to bluesy ideas with ease and logic. Finally, Hart delivers an exceptional drum solo with both chops and melodic taste. He plays very evenly and melodically over the drums, displaying his vast technical skill, but never losing the sense of flow and musicality.
The recording surely displays the love, joy and sense of connection the musicians share with the music and each other. The saxophonists are of a similar ilk and sound amazing together, at times almost indistinguishable when playing ensemble passages. However, they remain distinct voices all their own when playing alone, Armacost providing his pure, bright tone in contrast to Witt's powerful, edgy, "Texas Tenor" influenced sound. Witt has displayed his growth as a player through his performance on the recording, displaying his usual fire, but adding a further sense of refinement and taste. He has grown as a composer through his contributions to this record. Note the beautiful "Forever and Always" as well as the aforementioned works. Finally, he has displayed growth as a bandleader by assembling a collection of musicians that both compliment him and his music as well as challenge him to reach deeper. Witt never seeks the limelight on this recording, but rather acheives a wonderfully collaborative collection of performances with the highest level of playing. Woody Witt's Willows is an excellent example of modern jazz that should be a welcome addition to any jazz fan or afficianado's collection.
Track Listing: Passacaglia (Witt), Not Far Away (LoCascio), Trance (Witt), Howard Street (Witt), Forever and Always (Witt), Willows (LoCascio)
Woody Witt