James Suggs: For All We Know

Every bandleader who enters a recording studio presumably does so with a specific game plan either in hand or in mind. And as is true of any idea, some outcomes are better than others. James Suggs, a splendid trumpeter, has enlisted several able sidemen for support on his second album as leader, For All We Know. What he has not done—surely unwittingly—is develop a blueprint whose parts are better than average, and in some cases, it must be conceded, less than that.

Of all the items on this basically anodyne menu, only two—the standard "My Shining Hour" and Benny Moten's well- traveled "Moten Swing"—are perhaps worth visiting more than once. And they are the last two tracks in an otherwise largely unremarkable session. This despite the presence of the splendid drummer Herlin Riley and a capable front-line partner, tenor saxophonist Jeremy Carter.

The group's talents are for the most part wasted on such clunkers as Carole King's "You've Got a Friend," the Isley brothers' "At Your Best," Michael Jackson's "Black or White," John Lennon's "Jealous Guy" and Lennon and Paul McCartney's "For No One," none of which has the benefit of a trim and inspiring jazz arrangement. "St. James Infirmary," introduced by bassist Alejandro Arenas, with Suggs playing muted, is another less than provocative offering, as are Suggs' compositions, "Ping Pong Fellowship," Parts 1 and 2.

Vocalist Allison Nash adds little to the cause on "At Your Best" or the sluggish "Free," on which a second trumpet (Brandon Conley) is added, while pianist Seth Finch moves to Fender Rhodes. The changes are unable to redeem the subpar themes or lyrics. While it is not possible to know what Suggs had in mind when designing For All We Know, it is safe to assume that the concept must have been far more exciting and pleasurable than the outcome.