Ben Wendel - All One

May 3, 2023

Label: Edition Records, 2023

Personnel - Ben Wendel: tenor and soprano saxophones, bassoon, effects; Bill Frisell: electric and acoustic guitar (#3); Terence Blanchard: trumpet (#2); Cecile McLorin Salvant: vocals (#1); Jose James: vocals (#5); Tigran Hamasyan: piano (#6); Elena Pinderhughes: flutes (#4).

Saxophonist/composer Ben Wendel, an adept in the bold contemporary jazz, offers a completely different approach with his latest album, All One. Conceived in pandemic times and comprising six wonderful pieces, this peculiar outing was inspired by his youth days, when he was trying to write woodwind arrangements for pieces he loved. The concept consisted of recording multiple layers of saxophones and bassoon, working them in studio with the sound engineer Steve Wood, and then sending the results to a number of guest collaborators to add their parts freely.

Gershwin’s famous standard “I Loves You Porgy” delivers this perfectly intoned chorale of woodwinds over which Cecile McLorin Salvant pushes her voice to the front with incredible emotion. José James does the same on “Tenderly”, adding a particularly warm feel to an already lush arrangement. There’s a saxophone solo here that doesn’t let us go; we stay with it.

“Wanderers” is the first of three Wendel-penned compositions to appear in the lineup. It’s an apt title as the horns roam with staccato blows and fugue-like movements, fusing classical and jazz elements with gracious courtesy. Reeds that revolve around each other and timely handclaps underpin Terence Blanchard’s assertive trumpet solo. Just like with the aforementioned vocalists, this was the first time he and Wendel recorded together.

The other Wendel pieces are equally outstanding: “Speak Joy” places rippling horn currents at the base and creates deep tonal contrast with the help of flutist Elena Pinderhughes who remains in spontaneous conversation with the saxophonist. “In Anima” closes the album with a bit more mystery and space-age sounds that still carry some poignancy. Wendel's vertiginous descendant moves are as exciting as pianist Tigran Hamasyan’s masterful choice of notes. Both musicians had taken turns playing on each other’s albums in the past.

Before that, Bill Frisell’s “Throughout” conveys a sublime serenity within its lazy 3/4 tempo. The guitarist combines with the saxophonist to provide melodic unisons, taking independent routes whenever he intends to magnify circular riffery. Requiring supreme technical skills, these tracks don’t really include any eccentric movements but brilliant harmony instead. All One provides a fulsome view of Wendel’s arranging and composing capabilities, offering music that is fruitful, explorative and thoroughly satisfying.

Favorite Tracks:
02 - Wanderers ► 03 - Throughout ► 06 - In Anima

Ben Wendel - High Heart

November 4, 2020

Label: edition Records, 2020

Personnel - Ben Wendel: tenor saxophone, EFX, piano, Wurlitzer, bassoon; Michael Mayo: vocals; Shai Maestro: piano and Fender Rhodes; Gerald Clayton: piano and Fender Rhodes; Joe Sanders: double bass; Nate Wood: drums.

Saxophonist Ben Wendel boasts a robust yet soulful style that speaks to contemporary jazz avoiding predictable settings. After obtaining universal acclaim with the unforgettable The Seasons (Motema, 2018), Wendel reinforces his credentials as a deft composer and killer soloist with a new outing, High Heart, his fifth as a leader and first on the Edition Records. The canny arrangements inflicted to the eight original compositions on the record show his sense of sound exploration and a refined taste in the instrumental choices. This work is a personal reflection about the purpose and meaning of an artist in today’s overloaded music-making.

The lyrical title track kicks off with Michael Mayo’s beautiful voice at the fore, floating atop the soft harmonic tapestry weaved by arpeggiated piano and organic bass-drums synthesis. The tails of the saxophone melodies are modulated by synth effect and Wendel’s solo coincides with the tune’s dramatic pinnacle. Even if Donny McCaslin (early 2000s phase), Theo Bleckmann and Mark Guiliana (without the broken beat) are names that may pop up in your minds when listening to this music, there’s a unique, personal touch at every turn.

With a lovable near-electronic rhythm and insane unisons, “Burning Bright”, whose title derived from William Blake’s poem The Tyger, vouches for freedom while presenting taut, gloriously liberating exchanges between Wendel, Mayo, and keyboardists Shai Maestro and Gerald Clayton. The rare level of intuition between the musicians is on display, and a momentary euphoria is implanted on the busy finale, where written lines mix with improvisation.

“Kindly” accomplishes Wendel’s purpose to express deep appreciation for human connectedness, support and kindness. It’s done through clever modulation and outstanding melodicism, with Mayo and Wendel excelling in their respective solos. If the saxophonist, blowing with inside/outside ingenuity, creates astounding melodies here, Mayo totally grabs the spotlight on the meditative, prayer-like “Less”, where we find Wendel adorning on the bassoon.

“Drawn Away” is implemented with odd-meter and loquacious daring, reaching a very special state when Maestro scampers through with a mix of jazz, blues, R&B and gospelish elements into his stunning improvisation. Moments later, we have a dialogue between Wendel and Clayton, while bassist Joe Sanders and drummer Nate Wood maintain the tenacious rhythmic grip alive.

Delivered in five, the atmospherically static “Fearsome” is painted with darker hues and propelled by a gorgeous syncopated beat, whereas “Traveler”, which puts an end to this exciting sonic trip, provides ambiance and suggests downtempo as it mirrors and inverts material from the title cut.

Venturing into the present and future, this is a thought-provoking album that gives continuity to the brilliant job Wendel has been doing in recent times.

Favorite Tracks:
02 - Burning Bright ► 03 - Kindly ► 05 - Drawn Away

Ben Wendel - The Seasons

October 23, 2018

Label: Motema, 2018

Personnel – Ben Wendel: saxophone, bassoon; Aaron Parks: piano; Gilad Hekselman: guitar; Matt Brewer: bass; Eric Harland: drums.

The Seasons is not a new conceptual project by saxophonist and bassoonist Ben Wendel, a founding member of the eclectic band Kneebody, whose expressive tone jabs as much as bewitches. Still, this is the first time he presents it on record. For that purpose, he gathered a remarkable quintet harmonically driven by pianist Aaron Parks and guitarist Gilad Hekselman, and all propelled by the rhythmic bond of bassist Matt Brewer and drummer Eric Harland. In 2015, the saxophonist released 12 music videos on YouTube, corresponding to 12 original chamber duets that aimed to describe each month. The idea, introduced by classical Russian composer Tchaikovsky in 1876, gains now contemporary proportions with Wendel’s fluid stream of songs.

On “January”, despite the wintry connotations that the month implies, there’s a total absence of coldness in its ternary fluency due to the ardent way Hekselman and Wendel conduct their improvisations. Instead, that wintry torpor is left to “August”, a grey ballad that becomes darker and agitated as it moves forward.

Wendel is abrasively lyric in his solos, attaining climatic heights on pieces such as “February”, a confluence of vibrant post-bop and robust rock with a hint of Brazilian rhythmic flair; and “June”, a beautifully layered story influenced by post-bop and classical music, where the beseeching tenor of the bandleader reaches an extensive timbral range. The urbane pianism of Parks is not only noticeable on this latter tune, but also on “July”, a friendly and enthusiastic pop-meets-folk number melodically driven by bassoon; “September”, an exuberant funk rock title whereupon he excels in the art of comping and improvisation; and on the soulful “November”, where an indestructible pop/rock energy serves extemporizations by Brewer and Hekselman.

The guitarist, who shares an undeniable musical chemistry with the saxophonist, infuses contrasting folk textures on the Metheny-esque “May”, where the suggested crossover jazz takes the shape of a blues. Guitar and bassoon are complimentary forces on the effect-drenched “December”, a more contemplative piece that draws both mystery and enchantment. Harland’s drumming feels loosened here as required, yet, he demonstrates to have a conversational side when proclaimed sole accompanist of Wendel on the introductory section of “April”.

“March” takes us to cozy places with its rich harmonies and deliberate bossa nova accent, whereas “October” carries a primordially Afro touch besides the electro surface that confers it a modernly trippy aspect.

The Seasons is a wonderful, multi-colored work, a sagacious demonstration of Wendel's capacities. It’s an album that, deservedly, will be among the natural choices for best of the year.

Favorite Tracks:
01 - January ► 02 - February ► 06 - June