Jacob Chung: Live At Frankie's Jazz Club

Tenor saxophonist Jacob Chung's Live At Frankie's Jazz Club captures fresh performances of music that feel like a snapshot of deep friendship filtered through the lens of timeless jazz language. Recorded live at Vancouver, BC's iconic venue, Chung is joined by pianist Tyler Henderson, bassist Caleb Tobocman, and drummer Hank Allen-Barfield. These three equally talented musicians do not just accompany but actively engage in lively musical conversation. The program, a mix of jazz and popular standards, along with a few original compositions by Henderson, offers a satisfying blend of lyricism, swing and modern interaction.

The band opens with "Jeannine," the hard bop anthem by Duke Pearson. From the downbeat, they lock into a crisp, driving groove. Chung's tenor sound is full-bodied yet fluid, delivering a commanding yet melodic statement of the theme. His extended solo floats and swings over the rhythm section. Henderson seamlessly picks up the melody as he glides across the keyboard with precision. The lesser-known George Shearing composition "She" follows. Shearing's harmonic sophistication is honoured throughout as Chung phrases the melody with a narrative quality, coupled with Henderson's tasteful reharmonizations. There is a series of fluid exchanges between Allen-Barfield, Chung,and Henderson that are clear-eyed and self-assured. "Oblivion" is a deep cut from the Bud Powell repertoire that plunges the group into bebop territory. The quartet navigates the up-tempo, quirky structure with agility and imagination. Chung channels Powell's angular spirit, weaving intricate lines without sacrificing clarity and Henderson's playing is astute, lyrical and rhythmically sharp. Allen-Barfield's drumming is crisp and filled with explosive power.

Ray Noble's lovely ballad "The Touch of Your Lips" is given an extensive reading and rendered with lyrical charm and breezy elegance. Chung plays with a haunting, soft reed tone and Henderson sparkles with his crystalline touch, showcasing his melodic inventiveness. Both Tobocman and Allen-Barfield demonstrate an enlightened understanding of what it takes to please.

The closing tracks are two Henderson originals, "Love Endures" and "Goodbye/The Architect," with only the former delivering something of interest musically. The number is harmoniously rich with a lingering motif that evokes wistful resilience. Chung's extensive playing is especially lyrical, ever poised as he threads his phrases through Henderson's subtle rhythmic shifts. As he has done throughout the performances, Henderson shows himself to be a pianist of urgent effervescence. The latter is the standard band introduction followed by a musical bagatelle from the group.

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