Different Lens

A Different Lens Different? It sure is. For years we've heard Joe Jennings, dean of Atlanta's jazz community, mostly through the lens of Life Force, the sturdy collective he co-helmed with tenor player Howard Nicholson from the 1970s onward. Jennings and Nicholson went on to many other ventures, but it seemed like Life Force would always be there, ready to re-unite for a gig or a brief tour. And now here is Joe again, but this time fronting a stellar studio band with a new lineup: guitarist Charlie Robinson, Ramone Pooser on bass, Che Marshal and David Potter sharing drummer duties. No pianist. No other horns. Just wait until you hear these sounds. Without abandoning his customary fluency and fervor, Joe has used the stimulus of a new group to revitalize his music for the 21st century. We are rewarded with a whole range of conversations on topics that really matter-musical and otherwise. (See Joe's brief commentary on these tunes and learn what's behind the notes.) As for the notes themselves, wow. Speak Up! speaks in no uncertain terms. Passionate yet matter-of-fact, it's spiky head lays the groundwork for Jennings' roiling, closely argued first solo. Listen to the intense byplay he shares with guitarist Robinson there, and then to Robinson's own solo work, slightly more lyrical, not a bit more laid-back. Ramone closes out the solos, with Potter adding restrained touches that only heighten the energy. In contrast, Liar's Lair seems very slick. It's serpentine lines, smooth as glass, wind this way and that, making Joe's point better than words would. Another great Jennings solo beckons, it's effortless sheets of sound complemented by Robinson's anchoring touches, and solo work that echoes Joe's approach. Potter gets a word-and-a-half in, too. Seductive. (But listen for Joe's acerbic musical commentary right before the fadeout.) You will enjoy Eric's Little Waltz, which gives Joe a chance to display his glowing ballad sound, Robinson's nicely crafted straight-ahead On the Line, and two great changes of pace, the Latin-tinged Some Blues Are Bad (with Marshal and Bam Bam Ramirez) and Our Place in Space, Joe's tip of the hat to Sun Ra and all of jazz's astronaut ancestors. Finally, what better way to end this bold, beautiful step into the new century than with one more remembrance, the group's soulful take on Just A Closer Walk? Thanks, Joe. I hope you keep this new lens around. Lawrence Schenbeck (March 2012)