Corey Weeds: Cory Weeds Meets Jerry Weldon

Tenor saxophone battles are a rich tradition in jazz, dating back to the vibrant days of Gene Ammons and Dexter Gordon and especially the fiery partnership of Eddie Davis and Johnny Griffin. With Cory Weeds Meets Jerry Weldon, the torch is passed with style, swagger, and an infectious swing. Weeds, the Canadian impresario and saxophonist, teams up with seasoned tenor giant Jerry Weldon, whose commanding tone and blues-inflected phrasing offer both a challenge and a source of inspiration. Their interplay throughout the album is a master class in musical camaraderie.

Opening with Eddie Davis's "Hey Lock," the duo sets the tone—rollicking, brawny, and full of greasy old-school grit. Weldon's horn roars with Lockjaw's ghostly approval, while Weeds takes a slightly cooler approach, etching his solo with precision and rhythmic clarity. The rhythm section of pianist Miles Black, bassist John Lee, and drummer Jesse Cahill swing hard and steady, providing the necessary propulsion for these heavyweight encounters. Tenor saxophonist Clifford Jordan wrote "Princess," which is one of the lesser-known gems from his pen and unfolds with a swinging lilt set up by Black's rubato introduction and then anchored by Lee's steady bass line. Weldon and Weeds approach the tune with a shared sense of reverence, phrasing the theme with understated elegance before taking their respective solos. Another Jordan original, "Toy," follows and pivots sharply into a burning hard-bop number. This proves to be fertile ground for the kind of spirited exchange that tenor duels are built on. Black delivers his solo, which is filled with precise technique but an exploratory temperament. Cahill also has a solo spot, which shows he is a drummer of deep experience and unflagging energy.

Hard bop pianist Freddie Redd wrote "Olé" which brings a more exotic flavour into the mix with its Spanish undertones, opening the door to more exploratory improvisations. The rhythm section shines here: Cahill shifts into a loose groove, while Lee's bass line subtly evokes a flamenco ostinato. Over this canvas, Weldon and Weeds thread motivic ideas through the mode, building tension with carefully timed rests and accents. Two songs from the Great American Songbook are "Lady, Be Good" by George and Ira Gershwin and "I Had The Craziest Dream" by Harry Warren and Mack Gordon, which offer a study in contrasts in their interpretations. The former swings hard and fast as the tenors riff and trade with breezy agility, with Black's sparkling solo anchoring the tune between the tenors' exuberant readings. The latter is treated with warmth and restraint, its dreamy mood matched by Weeds' rounded tone and Weldon's heartfelt delivery.

The set closes with Weeds' own "323 Shuter," a nod to his Canadian roots and the Vancouver jazz scene he has done so much to nurture. It is a modern tune with a classic feel—compact, savvy and melodically memorable.

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