Jacob Wendt on Silver Street

Southern California drummer Jacob Wendt and his current quintet have recorded their debut LP “Silver Street” (Hayden 8001). After a number of years playing up and down the West Coast in a variety of settings, Wendt’s current group - consisting of Harry Ostrander (trumpet), Jimmy Emerzian (tenor sax), Doug Carter (piano) and David Reynoso (bass) - present an album inspired by the classic Blue Note albums of the early and mid 1960s.

Roaring their way through a set of original Wendt compositions, the LP takes off with the Horace Silver infused tune “Silver Street”. Rolling forward with a front line of Ostrander and Emerzian playing as tightly as Junior Cook and Blue Mitchell did back in the day, the tune could have come from one of Silver’s early ‘60s classics.

“New Groove” provides just that with a ‘60s “boogaloo” style exemplified by Lee Morgan’s “Sidewinder”, taking one back to that era with both Wendt and pianist Carter providing rock solid propulsion for the trumpet and sax. Special mention for the strong solos by Wendt and Carter here, on the melodic “Park Bench Dream” and indeed throughout the whole album.

“No Shortcuts” are needed for this modal tune in the vein of Wayne Shorter and Herbie Hancock’s collaborations of the early ‘60s both with Miles Davis’ second great quintet as well as their sessions for Blue Note.

“Sycamore Stomp” continues in the Horace Silver vein with an infectious composition that, like the title track, bounces along with a tight trumpet/tenor front line and excellent solos. “Gin and Platonic” explores the standard “Just Friends” while also paying homage to the experimental musing of Lee Konitz and Warne Marsh.

Almost closing out the album is the haunting ballad “Before You Go”. The smooth melodic lines throughout Wendt’s composition perfectly captures the moody atmosphere of wistful loss of a late night noir scene from “Chinatown”, or “L.A. Confidential”. But just like those classic detective films, there’s always one more scene.

Before they go, Wendt and company amp up the moodiness with “Cretaceous”, which presents a somewhat foreboding march for a Tyrannosaurus Rex as interpreted by Thelonious Monk. Starting with Reynoso’s ominous bass introduction, Ostrander and Emerzian twist, turn and bend the melody into an at times humorous introduction for pianist Carter’s solo channeling Monk’s own quirky sense of humor. Wendt himself perfectly accents the musical mayhem, bringing this most imaginative tune, and the album itself, to a very satisfying conclusion.

The LP itself is extremely well recorded, with the entire band playing together in one room with minimal miking in the tradition of legendary engineer Rudy Van Gelder. Playing together this way creates a certain spontaneity and playfulness that is often lacking in the age of overdubbing and isolated multi-track recording. Engineer Paul Tavenner’s mix gives the sound a strong presence and clarity, accentuating the fun the players are having with Wendt’s compositions.

Add Kevin Gray of Cohearent Audio cutting the lacquer masters for 180 gram audiophile pressings at RTI, along with heavy duty glossy tip-on jacket that has look & feel of a classic jazz LP from the early ‘60s, and the result is a record that fits comfortably next to any 1950s/60s Blue Note classic on your shelf.

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