| Jazz |
The Village Vanguard is somewhat of a must-visit for all the big names in jazz, with many taking the opportunity to produce a live album. However, not all of them achieve this level of sound quality. In fact, the first thing you notice about this album is the sound—it literally immerses you in the heart of the musicians, allowing you to appreciate their playing to its full extent. Recorded in November 2022, we’re glad this CD has finally been released.
The album begins with a striking solo performance by Wendel on tenor saxophone. In the first track, “Lu,” he sets the scene with a meticulously rendered broken arpeggio, his crisp staccato resonating through the unique shape of the Village Vanguard’s basement. This moment of solitary sound is not just an introduction, but an invocation—a nod to the legendary history of the club and its famous past artists. Wendel’s artistic perspective is also crucial here; it’s important for a musician to have a vision of their show to bring everything into focus. On this subject, the musician says: “There’s power in hearing a single individual play an instrument,” Wendel explains. “During the concert series at the Vanguard, I often started the sets alone to highlight the sensory experience of the space. The acoustics of the Vanguard are so intimate that it feels like the sound physically envelops you.”
Wendel takes full advantage of the rhythm section, which gives him all the space for free expression. His solo introduction pays homage to the jazz greats who have graced this stage, from Sonny Rollins to John Coltrane. It reflects his deep connection with the club’s spirit, which he likens to a benevolent force, wrapping the musicians in a sense of acceptance and encouragement. “The Vanguard has absorbed all the musical joy and electricity over the decades,” Wendel reflects. “Stepping onto that stage was like a warm hug from the spirits of this music.”
If this historic venue could speak, it would surely tell us all the wonderful stories of the jazz masters who have passed through, and we also appreciate the acoustic qualities that perfectly suit the place. Accompanied by the excellent and inventive pianist Gerald Clayton, the extraordinary bassist Linda May Han Oh, who also uses her voice here with great talent, and the simply sublime drummer Obed Calvaire, the album is a real treat.
“I’ve always had a great curiosity for music,” Wendel confesses, acknowledging the influence of his mother, a successful opera singer. “I love exploring the sounds of different genres and cultures. My work isn’t confined to one style or tradition.” The influence of childhood and parents on the making of an artist is undeniable; it is in these formative years that sensitivity develops, and this is felt in Wendel’s music. Wendel’s approach emphasizes the freedom of musicians to remain themselves within the compositions. “If I’ve done my job well,” he explains, “the musicians don’t have to go against their nature. They play as themselves within the structure of the music, and that’s beautiful.”
This passion drives the artists as much as it does the audience and even jazz journalists, who have a unique job requiring them to feel and be as sincerely honest as possible. This album offers something grander—a bit more freedom, breath, and intelligence, so of course, we embrace it! We place this little masterpiece at the top of our “essential” album list, where it naturally belongs.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, October 10th 2024
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