Dayna Stephens Trio Liberty

Dayna Stephens Trio
Liberty
Contagious Music

About tenor saxophonist Dayna Stephens' previous album "Gratitude," I wrote that, "While not a perfect analogy, … Stephens reminds me of the great Ben Webster in his attention to his tone and every note he plays seems thoughtfully considered … ." That recording was recorded after his recovery from a rare kidney disease. Now free from the illness, he is heard in first trio recording backed by bassist Ben Street and drummer Eric Harland.

In his album notes, Stephens states, "Liberty is a broad term that can refer to many situations, and for this recording, it takes on a few meanings. Playing trio as a saxophonist without any chordal harmonic support can be exposing yet very liberating. … Capturing it at Rudy Van Gelder's studio … just makes this project that much more special." He also observes that "One important common definition of Liberty says: 'The state of being free within society from oppressive restrictions imposed by authority on one's way of life, behavior, or political views.' It's tough not to be aware of current events taking or losing shape within our species."

Concerning the music on this album, there is both freedom and discipline manifested throughout. This starts with the tune "Ran," which was written for a dear friend, Randi Norman. Stephens displays his full tone as well as melodic sensibility with Street and Harland providing support and their own touches. Stephens calls "Faith Leap," a reimagined 'Giant Steps,' taken at a much slower tempo and rhythm. At the same time, "Kwooked Stweet" is a contrafact of another Coltrane tune, "Straight Street." He provides a relaxed attack on this latter number while again exhibiting his robust style and keen musical sense in developing his solo. On "The Lost and Found," Stephens plays baritone with controlled robustness. The trio plays with a spirited playfulness on "Loosy Goosy," There is an African flavor to "Tarifa," which is named after a place on the southern tip of Spain closest to Africa. Street spins a mesmerizing motif with Harland's percussion laying a foundation for Stephens, who plays multiple saxophones here. then there is the graceful beauty of his interpretation of Aaron Parks "Planting Flowers."

Stephens has again displayed those qualities that have had him recognized as one of today's most significant saxophonists. With the complimentary support from Street and Harland, The Dayna Stephens Trio has produced an exceptional saxophone trio album to place with similar records from Sonny Rollins, Joe Henderson, J.D. Allen, and others.

I received my review copy from a publicist. Here the Dayna Stephens Trio performs "Loosy Goosy."

 

Dayna Stephens Gratitude

Dayna Stephens
Gratitude
Contagious Music

The title of saxophonist Dayna Stephens latest album (his eighth as a leader) refers to the warmth, love, peace and strong connections he has shared with friends, family and fellow musicians, as he climbed his way back to health after fighting Focal Segmental Glomerulosclerosis (FSG), a rare kidney disease. As he states "after receiving so much love and support from so many people in my life, I am saturated with immense gratitude, perhaps completing a circle that started with those ingredients. This collection of songs serves as an expression of that deep-seated gratitude." He is heard on tenor & baritone saxophones, EWI, synthesizer, and bass on one track, and joined by a stellar band of Brad Mehldau (piano, tack piano ), Julian Lage (guitar), Larry Grenadier (bass) and Eric Harland (drums & cymbals).

Among the uniting factors of the music on this album is "that they all have to my ear enchanting, beautiful singable melodies," and starts with the lovely "Emilie" by Olivier Manchon and it introduces us to the warmth of  Stephens' sensuous tone on a gem of a performance that also features Medldau's piano with a long section when they are playfully trading fours. Aaron Parks' ballad "In a Garden," has Lage guitar providing harmony under Stephens with Grenadier takes a solo before Stephens wonderfully constructed solo that builds up with Lage's assistance and electronics adding to the atmosphere. Lage's "Woodside Waltz," has a playful figure at its core and with Lage's guitar as well as Stephens own playing has a rootsy appeal (similar to some of John Scofield's recent recordings). Stephens contributed "The Timbre of Gratitude," with Lage takes the first solo before Stephens enters. Then there is a sublime rendition of Billy Strayhorn's ballad "Isfahan," with just Lage backing him.

While not a perfect analogy, as his musical approach is rooted more in today's contemporary approach, but Stephens reminds this writer of the great Ben Webster with his attention to his tone and every note plays seems thoughtfully considered. This is so even when  playing horn lines on an electronic instrument as on Rebecca Martin's "Don't Mean a Thing at All," with a pleasing Mehldau solo as well. Besides the wonderful playing of Stephens, Mehldau and Lage, one cannot forget the significant contributions of Grenadier's bass and Harland's drums, along with the leader's judicious employment of electronics. This all contributes to the beauty, warmth and lyrical qualities that infuse the performances of this wonderful recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2017 (Jazz & Blues Reprt (Issue 372) although I have made some corrections and clarifying changes. Here is a video of Dayna  Stephens performing.