The teaming of a young protégé and an experienced veteran is a combination rarely seen in other forms of music, but it happens frequently in jazz. Tenor saxophonist
Nik Payton (not to be confused with trumpeter
Nicholas Payton) is paired with his mentor and legendary saxophonist and clarinetist
Bob Wilber for this set of swinging mainstream vintage jazz, standards, and a nice slice of originals written by the two. Recorded in England where
Wilber has resided for decades, this program is a delightful document of music that is still as relevant and vibrant as any jazz project in recent years. It is made more vital by the youthful curiosity of the
Ben Webster-influenced tenor of
Payton, and the chuckling, vibrato-laced reeds of the ever masterful
Wilber. One aspect of this recording that must be emphasized is that the participants like to change it up frequently, adding further to its listenability. Among the well-known standards, "I Won't Dance" sports a peppy tenor/soprano unison line, counterpoint, second line and pure, natural sound. During the whole of "I Believe in Miracles" you hear the robust trade-offs of the younger player's clarinet and
Wilber's toothy and ribald soprano, with nice ideas swirling all around. "California Here I Come" is the hottest number, eschewing corn for hard swing with
Payton's tenor opposite
Wilber's clarinet. Of the seven pieces penned by
Wilber, the title track holds an unusual harmonic motif made simple with his alto and
Payton's tenor, "Skybloo" has both on clarinet in a well swing groove, and the similar instrumentation for "Dialogue" contrasts in mysterious and dark blue ways.
Payton is a decent writer, contributing "J.P.'s Tee" in an homage to his clearly swinging dad in a tenor/soprano tandem, the cute alto/tenor challenge "Rabbit Jumped the Frog" for
Johnny Hodges and
Webster, and "The Sage," a delightfully sneaky and bouncy twin clarinet tribute to
Wilber, the ultimate in pure jazz expressionism. In addition, check out their lone bossa Brazilian number (
Payton lives in Brazil) "No More Blues," solo features including
Payton's decidedly dry
Webster-ish ballad "You Are Too Beautiful," and the wonderful
Wilber stretching his legato alto during "Ode to Pug." Credit where credit is due goes to the fine pianist throughout the date Richard Busiakiewicz, a new name who should not remain that way for very long, and the veteran bassist Dave Green. Traditionalists will be hard pressed in resisting the temptations of this finely crafted jazz effort, one that deserves lots of attention and affection. ~ Michael G. Nastos