The tragedy of tenor saxophonist’s Walt Weiskopf’s first live recording in 15 outings as leader is the untimely death of drummer Tony Reedus, making this the only record of an ensemble of seemingly unlimited potential. It was Reedus’s death at age 49, within a year of the performance at Koger Hall at the University of South Carolina, that prompted Weiskopf to release the music, presented as part of the 2008 bi-annual North American Saxophone Alliance Convention. Notes Weiskopf in his liner note, “I want everyone to know something of his greatness.” And although not his intent, the release of Live on Capri Records should alert a wide audience of listeners to the greatness of Walt Weiskopf, once noted as “one of the five most under-rated players” by Jazz Times’ Bill Milkowski. 

A Coltrane scholar and Eastman graduate who taught at his alma mater and now at Temple University, Weiskopf made his mark early with Buddy Rich and Toshiko Akiyoshi, and continues to perform with Steely Dan. But within jazz circles he is perhaps most respected as a composer, and fills most of Live with original compositions that bring out the best in his cohorts, pianist Renee Rosnes, bassist Paul Gill, and of course Reedus on drums. 

The two covers include a stunning arrangement of “Blame it On My Youth” and an initially light, airy take on “Love for Sale” that evolves into a Weiskopt blowing session, followed by a swinging exhibition from Rosnes and some exhilarating horse-trading among Weiskopf and Reedus. Let’s rename it “Jazz for Sale.” Among the original tracks, the opening “Man of Many Colors” starts with splash and pop from Tony Reedus, building a solid groove for Weiskopf to exploit; Rosnes takes no prisoners with her breakout solo, and we get a taste of tasty Paul Gill. “A Little Minor Love Song” is a gently flowing swinger, allowing Rosnes to display her softer touch and lyrical heart. 

The joint Rosnes/Weiskopf track, “Dizzy Spells/Jay Walking,” gets a Chopinesque entrée from Rosnes, pushed into postbop exploration by a burst from Reedus. Following Rosnes' virtuosic spin, Reedus shifts the focus to Weiskopf who twists and turns without losing the melodic core, Gill providing assertive support and a bouncey solo; Reedus takes a ferocious break as the quartet drives into the final bars. “Blues in the Day” finds Weiskopf in spiraling, flamboyant, ebullient mode, Rosnes mirroring the leader’s frenetic energy with her own display of keyboard fireworks. 

The minor key folkloric elements of “Scottish Folk Song” are introduced by unison sax and bass. Weiskopf goes on to weave a tight tapestry in pastels, while Rosnes replies as a wistful romantic floating above Gill’s steady basslines. Gill’s solo goes into an even darker place before he rejoins Weiskopf to reprise their earlier unison prayer, leading into a final quartet statement. The outing closes with “Breakdown,” suggesting at times urban gridlock, subway quick-stops, and rush hour frenzy, both Rosnes and Weiskopf at full throttle, Gill and Reedus in close and steamy contact. It’s by far the drummer’s most turbulent firestorm of the set. The quartet, in full, saved the highest-octane dazzle for the finale of an album that makes a fitting tribute to Tony Reedus and a capstone on the already-significant discography of Walt Weiskopf. 

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