Peter DiCarlo: Onward
Shifting Paradigm Records

Facility on his horn and a smooth, attractive tone are but two of many selling-points for Peter DiCarlo's debut solo album release. The eight-track collection sees the NYC-based alto saxophonist serving up a set of straight-ahead jazz that isn't radical conceptually yet rewarding nonetheless. Enhancing his poised delivery is a crack team of distinguished colleagues, including his bassist brother Tom, drummer Chris Parker, pianist Jim Ridl, trumpeter Scott Wendholt, and fellow saxophonists Rich Perry (tenor) and Claire Daly (baritone); percussionist Keisel Jiménez Leyva also makes his presence felt, as does singer Jerson Trinidad on the closing track. The album augments five originals by the leader and one by Parker with two covers, the first a fine rendition of an old classic and the second something of a head-scratcher by comparison.

DiCarlo's an inventive and imaginative musician of remarkable fluency, and simply attending to the Rutgers University graduate's playing as he progresses through a solo proves satisfying. Throughout these skilfully arranged post-bop pieces, his lithe, acrobatic phrases accumulate into lengthy explorative statements. As impressive are those joining him. His partners respond to the leader at an equally high level, and the rapport shared by all is undeniable. The drive and momentum generated by Parker and bassist DiCarlo elicit potent expressions from the others, with Ridl, Wendholt, and Perry in particular rising to the occasion.

Onward begins the album on a mighty note with the breezy effervescence of the title track, the horns harmoniously communing and the rhythm section buoying the ensemble fabulously. The leader leads the charge with a characteristically probing solo, after which Wendholt and Perry deliver their own pungent statements. Framing the individual turns are short breaks in 3/8 to give the piece grounding structure and make it something more than a straight-up blowing session. Delivered at a languorous tempo, “Feast in the Fuar” works subtle Turkish flavour into the writing, the tune once again elevated by a virtuosic solo from the leader and compelling follow-ups by Wendholt and Ridl.

Languor and warmth also infuse the Latin-tinged ballad “The Imposter,” whose harmonic and melodic design calls to mind Joe Henderson. A lyrical statement by Perry appears first, after which DiCarlo brightens the performance with a flamboyant, at times keening expression. Parker's ballad lament “Arrival” perpetuates the romantic tone, with this time the alto and tenor deepening the late-night mood and the pianist illuminating the piece with evocative sparkle.

Apparently the final song recorded during the band's full day in the studio, “Stepping Off” sounds anything but tired; if anything, the steamy, blues-ridden performance captures the ensemble interacting at an inordinately high level and luxuriating in the tune's infectious groove. Ridl shines in his solo, so much so he sets the bar high for DiCarlo in his own swinging turn. Not for the last time, we're reminded of how fortunate he was to have had a rhythm section of such responsiveness with him on the date.

The album's capped by two covers, the first a singing, Latin-tinged treatment of Harry Warren's “There Will Never Be Another You” that's perfectly suited to the leader's style and the second a rendering of Eugene McDaniels' “Feel Like Makin' Love,” the song familiar for the chart-topping version by Roberta Flack. Here it's Jerson Trinidad handling the vocal, and while he's certainly soulful enough, the inclusion of the tune on Onward puzzles when it's so out of character with the rest of the material. The move hardly undermines the release, but it does end it on a slightly perplexing note.

It would sell the eight pieces short by describing them as mere springboards for the soloing and ensemble playing, yet the album's greatest pleasures derive from the performances. If DiCarlo distinguishes himself throughout as both writer and player, the musicians he convened for the project impress as much. It's his name that's displayed largest on the cover, but it's telling that the others' names appear immediately below his.

February 2021