The Dam Jawn featuring Dick Oatts: Forward!

The Dam Jawn's Forward! is an exhilarating journey through the sonic spectrum of modern jazz, elevated by the presence of alto saxophonist Dick Oatts. This collaboration captures the creative energy of five talented young musicians presently living in Amsterdam (hence the Dam in the name) alongside a veteran master, weaving a tapestry of grooves, colors and moods into a cohesive and engaging whole. Of the nine tracks in this session, eight are original compositions from the various band members; the one exception is a composition from pianist John Hicks.

From the opening track "Wayne's Mind Eye," a tribute to Wayne Shorter by the guitarist Joan Fort, the number showcases the musical bonds within the ensemble. With Oatts signature alto leading the way, the band traverses the musical terrain without a false note, with Fort's improvisation flights gliding seamlessly around the theme. Hicks was a hard bop pianist whose way of phrasing and attack readily identified him. His compositional style reflected this approach, which is evident in the composition "After The Morning." In this thoughtful number, Oatts' seasoned elegance is front and center and intermingles with the essence of the group's collective sound. Fort provides harmonic richness and textural depth to the interpretation.

Bassist Philip Lewin penned "Doors," a bossa nova that opens with a creative solo from tenor saxophonist Frank Groenendijk. Oatts never disappoints in his expressive phrasing, and the composer delivers his solo filled with soulful depth. Another original from Fort is "Fairmount Park." This touching ballad features the writer's probing guitar along with a rhapsodic solo from alto saxophonist Martin Diaz. As the tracks glide seamlessly between intricate interplay, emotional lyricism and bold improvisational flights, the trust and camaraderie among the musicians are clearly reflected.

Groenendijk wrote the title track and, in doing so, has built-in space for his bold tenor solo following a compelling blend and contrast melody from the front line. Diaz also takes a turn, which features his sharp, dynamic phrasing. The closing track is "Shifts," a composition from drummer Nitin Parree, and it is a vigorous romp. Propelled by Parree's turbocharged drumming, the catchy melody builds a frame upon which Oatts, Diaz, and Groenendijk develop fiery solos that display individual virtuosity and an understanding of their role in the ensemble.

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