I’ve admired Houston-based saxophonist Woody Witt since first hearing him perform in Minneapolis with Kelly Rossum five or six years ago. He’s released some marvelous recordings in small ensembles and duet format. This new release (technically from 2009 but released in 2010) is the first live recording from Chris Cortez’s Blue Bamboo Music label. First Impressions further refers to the title track as well as the first recording for this ensemble, and likely American audience’s first encounter with French pianist Franck Amsallem. Witt brought Amsallem to his program at Houston Community College in winter 2008, inviting Cortez to record the live performance with bassist David Craig and drummer Sebastian Whittaker. Two tracks here are from that performance, the rest was recorded the following week on the same stage without audience. And with the exception
of Ornette Coleman’s “Chronology,” all are original compositions from Witt, Craig and Amsallem.

It would appear that these musicians bonded instantly, as the result is music that easily suggests a long-standing camaraderie. The opening tracks come from the Houston concert, Woody’s soprano leading the way on his “South of Dallas.” Craig’s “Northern Face” again features Witt’s now mournful soprano, the rhythms and harmonies suggesting something far east of Dallas. Craig’s basslines come from a cave far below the Earth’s surface, while Amsallem’s cleanly articulated lines breathe with a majestic wistfulness and Whittaker’s percussion gently pushes throughout.

Craig opens solo on his “Dear John” before Witt’s tenor takes over the dark melody, which rises and falls as if a ceremonial ritual. “Standard Form Requirement” introduces Amsallem as composer and offers a punchy sequence from Whittaker to set the stage for a bouncy blue-tinted romp, Amsallem’s phrases and harmonies reflecting a deep affinity for American jazz traditions. On tenor, Witt tumbles and swings like a kid on the schoolyard monkey bars, while Whittaker fills one break after another with sparkling drama.

Ornette Coleman’s “Chronology” becomes putty in the hands of Amsallem and company, the pianist playfully navigating the idiosyncrasies of melody and rhythm, bass and drums keeping the fire stoked, Witt taking us on a magic carpet ride before yielding to Whittaker’s riveting solo.

Witt’s title track has a thread of Latin sway, his tenor laying the foundation for Amsallem’s warm journey and then adding another layer himself. Bass and percussion fit into the groove like hand in glove, in supporting or solo roles. The final track is a “Gotham Goodbye” penned by Amsallem, filled with unpredictable anecdotes, his statements ranging from funereal incantations to enthused explorations, while Witt reflects a similar quest for a musical nirvana.

In sum, the ensemble reaches high and wide, and finds its holy grail. These are lasting impressions.

---

Add this page to your favorite Social Bookmarking websites