Kenny Reichert: Live in Chicago

Kenny Reichert has been steadily building his reputation within the modern jazz world, and Live in Chicago stands as perhaps his most revealing statement to date. Recorded at Pro Musica with a hand-picked quartet featuring alto saxophonist Lenard Simpson, bassist Ethan Philion, and drummer Devin Drobka, this five-track collection captures something increasingly rare in contemporary jazz recordings: genuine, unvarnished spontaneity within a live setting.

What is immediately striking about this record is its commitment to expansiveness. Each of the five original compositions stretches out with confidence, allowing the musicians ample space to explore and respond to one another in real time. The opening track, "Poppy Seed," establishes the quartet's aesthetic priorities early on with a 'Birth of the Cool' tone and smooth articulations—a wonderfully witty reference for those paying attention. Here, Reichert's multifaceted guitar work threads melodic lines and shadings through the ensemble's collective improvisations, rather than dominating the proceedings. This democratic approach to arrangement serves the music exceptionally well throughout the album.

Reichert has been described as a distinctive player and composer, bringing a voice to the electric guitar that favors lyricism over flash. His tone throughout Live in Chicago remains warm and controlled, even within moments of heightened intensity. The harmonic sophistication that characterized his previous studio albums—Switch (2024, Calligram) and Deep Breath (2023, Shifting Paradigm)—translates effectively to this live context. However, here it feels less composed and more discovered in the moment, which is surely the point of a live record.

Simpson's alto saxophone provides an ideal foil to Reichert's approach. Reichert's playing demonstrates both technical command via speedy and well-defined solos and a refreshing willingness to leave space, allowing silence to do its work. This is particularly evidenced during "Streak of Blue," where he employs volume control techniques to deliver the opening narrative atop Drobka's soft, asymmetrical use of brushes. Moving forward, Simpson provides the harmonious theme, followed by Reichert's crafty solo.

On tracks such as "Evening Camel" and the closing "Eagle," the dialogue between guitar and saxophone becomes the album's central narrative, with Philion's bass and Drobka's drums providing not merely accompaniment, but active commentary. Moreover, the leader often melds dreamy voicings into the grand schema.

The recording quality deserves mention as well. Engineer Ken Christianson has captured the room's natural acoustics without excessive polish, preserving the immediacy that defines live performance. One can hear the musicians breathing, adjusting, and responding—all the human elements that studio overdubs typically erase.

The quartet ultimately succeeds because it does not attempt to be anything other than what it is: a document of four seasoned musicians trusting one another enough to explore without a safety net. For listeners seeking pristine perfection, this may prove challenging. For those drawn to the unpredictable beauty of improvised conversation, Reichert has delivered something both adventurous and deeply musical.