Finality

“..either the coolest old guy or the oldest cool guy in St. Paul.” –City Pages

A few years ago, tenor saxophone legend Irv Williams hinted at retirement in his liner notes for That’s All, but clearly that was premature. Now, three CDs later, the 88-year-old known fondly as “Mr. Smooth” issues a more dramatic hint with the release of Finality (Ding Dong Music), officially released at the Dakota on January 6th. But apparently the title only refers to Irv’s feelings about recording sessions, not performing opportunities. He’s still a weekly happy hour staple at the Dakota and Il Vesco Vino in St. Paul, and turns up on a regular basis in prime time at the Dakota and Artists Quarter. In fact he missed the latter’s New Year’s Eve bash for the first time in memory this year when he found himself double booked. What? 88 and double booked for New Year’s Eve? Most of us were lucky to have enough energy for one event! And one CD release was not enough for Irv--he'll have his "east side" release party this weekend at the Artists Quarter in downtown St. Paul (February 29 - March 1).

Raised in Cincinnati and Little Rock, Williams first performed in the Twin Cities as a clarinet and sax player with the Navy during Word War II. Turning down invitations to play with Count Basie and Duke Ellington, he stayed in the Twin Cities, although his vita includes stints with Fletcher Henderson, Mary Lou Williams, and Billy Eckstein. Here at home, Williams has played at every jazz venue, past and present, including the old Flame Bar where he was often back to back with such stars as Sarah Vaughn, Dizzy Gillespie, and Johnny Hodges. The first jazz musician to have his own “Irv Williams Day” granted by the State of Minnesota (1984), he has been inducted into the Minnesota Jazz Hall of Fame and was pictured on the “Celebrate Minnesota” official state map in 1990. At the KBEM Winter Jazz Festival in 2005, Irv was onne of three recipients of Lifetime Achievement Awards. Throughout his nearly seven-decade career, Williams has focused on the Great American Songbook and the tenor sax as a solo vehicle. His knowledge of the idiom is legendary and fellow musicians marvel at his ability to play any song in any key. Noted Matt Peiken (St. Paul Pioneer Press), “Veteran saxophonist Irv Williams has always been about sweetness not power, and he's still gigging strong.” That was three years ago, and Irv is gigging and blowing as sweetly as ever.

Irv Williams©Andrea Canter

If there has been a transition in Irv’s playing over the past five years, it might be that his current live and recorded performances are more likely to highlight classic ballads. Irv sounds like that old saxman who turns up in the movies, playing in a quiet corner of the bar while some romance falls apart—a touch of melancholy, not intrusive, but hard to ignore, making the moment memorable regardless of its outcome. And the ballads stand out on Finality, from Irv’s own Debra’s Dream to the Lane-Lerner ominmous closing selection, “Too Late Now.” “Debra’s Dream” is a lovely tune featuring guitar on the opening verse before dissolving into an extended a capella solo that proves that Mr. Smooth needs no support at all to elegantly express himself with his gentle, slightly grainy vibrato. One of my personal favorites, David Mann’s “(In the) Wee Small Hours (of the Morning)” opens with a bass solo and delicate keyboard accompaniment. Irv’s is the perfect horn for such a tender tune, adding exquisite interpretation with deeper colors in the second verse, ending the track with a light, spiraling cadenza.

Irv often fits in “Old Folks” in his live performances and here it’s given a sublime introduction by Peter Schimke. The trio is most elegant here, particularly when Irv drops out and gives them the spotlight. This is an Evanescent Schimke, countered intelligently and gracefully by Johnson and Horst. The finale, “Too Late Now,” is perhaps the most alluring track, a guitar-sax duo highlighting Walstad’s acoustic Joe Pass delicacy. Despite the suggestion of the CD title, the beautiful interweaving of these two musicians suggests the makings for Duos II.

Irv Williams with Adam Linz©Andrea Canter

Two tracks feature tenorman Gus Sandburg, “Tivoli” and “Castle Rock.” “Tivoli” reveals Sandberg’s sharper, brighter tone, while he also brings some slippery long phrases to the Dexter Gordon classic before Irv takes his turn, adding a more mellow, smokey flavor—it’s a nice pairing of contrasting timbres. The two horns again pair up on the Ellington/Hodges “Caste Rock,” although the highlight of the track is Loren Wahlstad’s guitar which gives the ensemble a playful bounce.

Irv Williams©Andrea Canter

If there is a touch of “finality” to this recording, it’s well earned. Still, Irv likes to play to an audience, and his newest effort only leaves us wishing for more. Maybe Mr. Smooth will reconsider. Give him encourgement this weekend at the Artists Quarter, February 29 and March 1, sets at 9 pm.

Irv Williams’ Finality will be available through CD Baby (www.cdbaby.com) and local outlets. The Artists Quarter is located at 408 St Peter Street in downtown St. Paul, www.artistsquarter.com