Ingrid Jensen: Landings

Ingrid Jensen has emerged as a unique trumpet player with a distinctive sound that defines her and proclaims her nonpareil gifts.

The album opens with "Handmaiden's Tale," a virtual duet with Gary Versace that clearly demonstrates the beauty of Jensen's tone. The track weaves together many strands of sheer beauty: warmth, lyricism, resonance and the roundness of the notes. It balances space and pace with a barely suppressed melancholy and soft dynamism. There is a fluidity here—refusal to indulge in empty virtuosity.

Jensen acknowledges many influences from over the years, such as Clark Terry and Woody Shaw, but the one who has left the most indelible mark is Kenny Wheeler. Jensen has noted that Wheeler could move from seductive melodies to expansive, ethereal ideas without ever crossing over into "trumpet ego," a description that fits her own playing remarkably well. Nonetheless, Jensen has now reached a stage where she has evolved beyond her influences to become herself.

The inclusion of George Coleman and his composition "Amsterdam After Dark" is not just a sentimental nod to a jazz legend, but the incorporation of a great, fluent voice into the quartet. At 90, George has outlived the detractors who demanded his replacement in the Miles Davis Quintet in 1964. His sound provides a robust contrast to the warmth of Jensen, while the organ solo from Versace adds to the atmosphere. Coleman triumphantly uses the wisdom he has gained over the years to cut away verbosity and focus on the essentials, proven by the audible approval at the end of the track.  

Carla Bley's "Ida Lupino" is an enthralling composition honoring the title subject, who was one of the first women to move from acting to directing. The piece is introduced by drummer Jon Wikan, followed by a sensitive guitar solo from Marvin Sewell.  

Wikan plays an integral role in the creation and performance of this music. Known for holding the drum chair in Darcy James Argue's Secret Society Big Band since its inception, he is an expert at adding layers of percussion and texture. His playing on this album is sensitive and appropriate, enhancing every track. 

The melody of "Home" swings and lopes steadily. Sewell picks up the rhythm to give it his own bluesy tinge, while Jensen plays counterpoint in the background without losing the groove. Her long-held trumpet notes ride the swing perfectly. Wikan and Versace work together with Jensen to give this engaging piece a strong narrative feel.

Gary Versace's composition, "Many Homes Many Places," features Jensen playing muted trumpet throughout. The pinched sound, contrasting with her usual wide-open horn, seems to induce Jensen to create more notes to fill the space. The ensuing duet with Versace is a taut conversation as Jensen attempts to harmonize with the pianist's ideas. 

Finally, there is a majestic sweep to the melody of Sewell's "The Workers Dance." Eventually, Sewell's guitar emerges; he picks his way carefully around the melody, averse to simply filling the space with unnecessary notes. His music rises above Versace's accompaniment, leading into a second section that features Jensen's most abstract solo of the album. 

Jensen has gathered musicians who are in sympathy with her ideas and who value working with a musician with such unique qualities. The recording quality itself enhances the performance. The sound stage possesses both clarity and depth, and the fullness of the audio makes the group sound more than a quartet. This is an album full of beautiful music that is content to be itself—saturated by the influence, human sound, and artistic integrity of Ingrid Jensen.

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