| Jazz |
Zebra Stories is an enthralling album, primarily because it is meant to follow the twists and turns of an artist’s life, capturing both the highs and lows. The music, crafted by this composer, adopts varied hues that reveal its many facets, making Zebra Stories a most fitting title. Allee shares that Freedom was “originally composed over a Fourth of July weekend.” He goes on, “Freedom evolved to embody the liberty of individual spirit, for artists as well as for all citizens.” The piece begins with a slow, dreamlike introduction that gradually gains momentum, tightly woven in unity. Rob Dixon’s lyrical tenor saxophone is buoyed by Steve Houghton’s lively drum rhythm, supported by Jeremy Allen on bass and Rusty Burge on vibraphone. Allee interjects sparingly, harmonizing alongside Dixon. Each musician has their own voice and space to be heard, and the final unity is a pure moment of joy.
Steve Allee, like myself, has a deep love for the music of Bill Evans, whose legacy continues with the release of a long-forgotten recording set to premiere on December 6. *Waltz for Bill* is a “magnificent piece, written by pianist Lyle Mays as a tribute to Bill Evans. Steve Houghton brought us this piece; he and Lyle were close from their days at the University of North Texas and their time with the Woody Herman Orchestra. Our bassist, Jeremy Allen, shines in this piece,” Allee shares. The friendly interaction gives Allen the space needed for his bass to speak.
And one could explore each track in this way, as each holds a story, told without compromise but with remarkable aesthetic care. It’s clear that societal reflections underpin much of this, as Steve Allee’s music transports us to different eras and worlds, as if captured in Cinemascope. For Allee, encounters are as intense and important as time itself. “This piece has a solemn yet hopeful tone, almost classical in essence, and it profoundly influenced my early musical development,” the composer notes. The musicians of Unity bring out the dreamlike quality of this slow waltz.
In closing, Allee remarks, “One of my earliest compositions, Songbird, reflects the Brazilian influence of Antonio Carlos Jobim, Astrud Gilberto, and Luiz Bonfa. This song captures the energy of my twenties and my passion for world music.” This rich, fulfilled conclusion finds each musician at the height of their artistry, alternating solos, reuniting in harmony, and inspiring a moment of grace. The drawn-out ending is lush; listening at home, I found myself standing, almost instinctively applauding.
To live music, to experience it both publicly and internally, is essential for both the composer and those who write about jazz albums. In both cases, one must call upon and trust in what one feels, building a perspective based on experience and encounters. In this sense, time holds the same value, the same importance, leading to qualitative choices that prompt us to place this album among our favorites.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 14th 2024
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