David Whitman: Ode To Joe
Shifting Paradigm Records

Perhaps Ode to Joes might have been the better title for Southern California-based drummer David Whitman's fourth album, given that it pays tribute to both the great tenor saxist Joe Henderson and Whitman's mentor and former teacher, Dave Brubeck Quartet member Joe Morello. No matter: the set's swinging tracks make a strong impression regardless of who's being honoured. Lasting approximately thirty-two minutes, Ode To Joe is modest in content, but it still hits hard. Whitman calls its pieces “hard-swinging foot stompers that course through your veins or make you want to get up and shout,” and he ain't far wrong.

Recorded at Capitol Studios in Los Angeles over two July days in 2018 and with tenor saxophonists Bob Sheppard and Rob Lockart, guitarists Bruce Forman and Chris Montgomery, trumpeter Andrew Neesley, trombonist Ryan Dragon, pianist Geoffrey Keezer, and bassist Rob Thorsen aboard (one each of the guitarist and saxophonist appears at a time, making the outfit a working septet), Ode To Joe wastes no time making an impression. Like Art Blakey, Whitman leads from the drums, more with inspiring energy and a fierce attack than by competing for the spotlight. When he does take a solo, it's typically succinct and never lets the momentum flag. He's also credited, along with Neesley, as the composer of the six tunes.

You could be forgiven for thinking you're hearing some slickly produced Jazz Messengers track from years past when “Time Out” rolls out polished horns and a breezy pulse, at least until Forman drops the first solo. A satin-smooth Sheppard takes the second, after which the pianist sets comping aside for his own rollicking turn and Whitman trades muscular solos with team members. One track in, and the tightness of the unit's playing is clearly evident.

The aptly titled “Bop This” charges with as much purpose as the opener, this one powered by a mute-wielding Neesley, voluble Sheppard, punchy Dragon, and the rhythm section's freewheeling drive. Things take a funkier turn for the New Orleans-styled wail and moan of “Home,” with Whitman shuffling and the soloists blustering. Sheppard distinguishes himself terrifically on the title cut when his smooth tenor not only honours Henderson but almost seems like it's channeling him. Speaking of smooth, check the mellifluous “Nees Plees” for especially dynamic solos by Neesley and Keezer. Only with the final piece does the tempo slow, in this case for a soulful ballad rendering of “With Love” that's elevated by sparkling tenor playing by Lockart, the ever-reliable Keezer, and a bluesy statement by the album's co-producer, Chris Montgomery.

Ode To Joe isn't experimental jazz and unapologetically so. For the most part, Whitman and company burn on all cylinders throughout, the feeling of joy palpable as they dig into the blues-bop material with élan. Listening pleasure here primarily derives from appreciating the outstanding playing of the musicians, separately and as a unit, and stellar arrangements that enable them to strut their considerable stuff.

October 2023