Label: ears&eyes Records, 2023
Personnel - Alex Weiss: tenor saxophone ; Dan Blake; soprano saxophone; Yana Davydova: guitar; Dmitry Ishenko: bass; Ches Smith: drums; Marta Sanchez: piano (#3,9).
The sociopolitically-themed Most Don’t Have Enough, a stark set of incandescent hybrid pieces by Brooklyn-based saxophonist and composer Alex Weiss, is inspired by the world of our times: the damage caused by Trump’s presidency as well as the violence and precariousness seen a bit everywhere around the world. He leads an amazing quintet that includes luminous stars like the soprano saxophonist Dan Blake and drummer Ches Smith.
All but two of these nine tracks are originals. The attractive themes, the easy flow with auspicious time shifts, and the quality of the arrangements are immediately found on “The Leonard Nimoy Method”, where an indie rock melodicism mixes with avant-jazz angularity to please the ear. The song, dedicated to the actor of The Invasion of Body Snatchers, is stirred up by a tenor solo delivered with passionate lyricism and deep intensity, a fine collective envelope, and wonderful soprano rambles.
Blake also channels his positive vibe and energy into the final moments of “Homage to Elijah Cummings”, the first of two pieces guesting the virtuosic Spanish pianist Marta Sanchez. The other cut she participates in - delivering an unorthodox statement - is the closing “Akira: Sun and Moon”, whose odd-meter groove altered periodically with a 4/4 rock drive are meant to celebrate Weiss’s son, Akira.
Disgusted with what Trump brought to America, Weiss makes “Your Dark Shadow Arrives at the Door” unfold with 3/4 curiosity, whereas in “Organized Religion”, which mentions another known predicament, there’s a combination of rock muscularity (reinforced with Yana Davydova’s distorted guitar) and jazz fluidity (in the form of unreserved unisons, counterpoint and polyphony).
The two gorgeous covers presented here are swinging attractions with audacious melodic lines, well-shaped figures, and deft runs conducted with purpose. We’re talking about Chris Speed’s “Really OK”, which brings to our mind the music of Herbie Nichols and Steve Lacy; and “Humpty Dumpy” by the groundbreaking saxist Ornette Coleman, another tremendous influence on Weiss’s musical vocation.
The rhythms and concepts might not be a novelty but Weiss’s tunes bounce with zesty enthusiasm. It’s a feel-good record that runs a nice gamut between substantial rock and accessible avant-jazz.
Favorite Tracks:
01 - The Leonard Nimoy Method ► 05 - Really OK ► 09 - Akira: Sun and Moon