Label: Sunnyside Records, 2020

Personnel - Lucas Pino: tenor sax; Adam O’Farrill: trumpet; Glenn Zaleski: piano; Desmond White: bass; Allan Mednard: drums.

33-year-old pianist Glenn Zaleski reflects a remarkable musical maturity beyond his age. As an adept of the classic trio format, his discography as a leader is enriched with albums in which he works with the following rhythm sections of bassist and drummer, respectively - Rick Rosato / Colin Stranahan and Dezron Douglas / Craig Weinrib. That being said, he now opted to expand his sonic palette by putting together a supportive quintet for his latest work, The Question. The material was partially inspired by the transition to his thirties as well as becoming a father for the first time. Offering many possibilities, the group exhibits a front row with saxophonist Lucas Pino and trumpeter Adam O’Farrill, and a rhythm section where Zaleski teams up with bassist Desmond White and drummer Allan Mednard.

Although connected in its musical identities, “The Question” and “The Answer”, respectively opening and closing tracks on the album, are expressed with distinct outfits and moods. If the latter shapes into a solo piano reflection, the former displays the strong rhythmic alliance between Zaleski, White and Mednard. The drummer begins by laying down a gorgeously syncopated beat, with which the piano texture meshes with purpose. Subsequently, sax-trumpet unisons levitate in a soul-searching examination that is complemented with solos from saxophone, piano and drums.

O’Farrill’s quick-witted trumpeting is in evidence on “Backstep”, a compellingly brushed waltz designed with the famous Coltrane changes going in a backward direction. The relaxation of Bill Evans combines with the cleverness of one of Zaleski’s biggest influences, Dave Brubeck, whose timeless ballad “Strange Meadow Lark” appears here with the habitual classical-meets-jazz sophistication. This silky arrangement dates back to when Zaleski, then 18, was enrolled at the Brubeck Institute in California.

In addition to the previously mentioned cover, there’s “Road Life”, an exultant swinging bop tune written by Memphis pianist James Williams (a member of Art Blakey’s Jazz Messengers from mid 70’s to early 80’s) and buoyed by multi-colored soloing efforts.

In an attempt to stress the deceptions created by social media, “Smoke and Mirrors” kicks off with precise harmonic patterns tasked with preparing us for the smooth, hip-hop-ish, loosened-up funk to come. The bass line in the second half is a mirror of the first, and both Pino and O’Farrill ooze excitement from their interplay during the final theme, minutes after having embellished Zaleski’s solo with parallel lines. Horn fills are also spotted on “Subterfuge”, a sensitively brushed illustration loaded with adventurous pianism.

Perfectly integrated in the line up, the smooth “BK Bossa Nova” features adept guitarist Yotam Silberstein imparting emotion in his splendorous storytelling.

With a genuine aptitude to extract beauty and joy from his playing, Zaleski is a modern pianist who never loses touch with the jazz tradition.