Tyler Henderson: Love Endures

Pianist Tyler Henderson's Love Endures is a rare artifact of musical honesty, an album that trades studio gloss for the imperfect magic of real-time interaction. Recorded in the attic of a house owned by a devoted jazz aficionado in Vancouver, BC, the session's unusual environment—unadorned acoustics, no headphones, no overdubs—sets the tone for a recording that is as much about listening as it is about playing. Accompanied by bassist Caleb Tobocman and drummer Hank Allen-Barfield, Henderson delivers a statement, mixing five personal originals with five reimagined standards to reveal the depth of his influences and inner world.

The album opens with "On a Clear Day," a buoyant anthem of possibility. After a sly, quiet statement of the theme, Henderson bursts into brightness and force, transferring the song into brassy optimism. Tobocman's bass anchors the shifting textures and delivers a solo filled with understated authority. Allen-Barfield uses his brushwork to keep the energy simmering, and his brief solo covers the drum kit with enthusiasm. "I'll Never Smile Again" is rendered with aching simplicity. Originally a ballad of wartime longing, Henderson plays it like a solitary letter written by candlelight. The phrasing is tender and careful, and the trio's restraint lets the melody speak for itself. The first of Henderson's several originals is next, entitled "West End Promenade." This is a lyrical and rhythmically-engaging number that captures the feeling of a familiar city walk. The melody has a lilt to it, enlivened by Henderson's buoyant left hand and nimble interplay. Allen-Barfield's drumming nudges the tune forward with gentle propulsion.

Cole Porter's "Get Out of Town" is a welcome dose of urbane mischief. Henderson plays with the tunes' harmonic ambiguities, injecting sly chromatism and rhythmic hiccups into the arrangement. Tobocman and Allen-Barfield respond in kind, pushing and pulling time in a way that keeps the listener on edge. The title track sits at the heart of the album. It is a statement of resilience and devotion that embodies the spirit of the recording. Henderson introduces the melody with simple clarity, letting each phrase linger in the air. The harmonic progression is understated but rich, unfolding with a sense of inevitability. One hears echoes of Ahmad Jamal's approach but without mimicry; Henderson's touch is his own—slightly rounded, warm and deliberate. Tobocman adds a gentle counterpoint, and Allen-Barfield's brushwork shows restraint, offering texture without ever drawing attention to itself.

The closing track is another Henderson original, "The Architect." The composition lives up to its title, unfolding with logic and elegance of a blueprint. There is a contemplative undercurrent with Henderson sketching emotional structures through sound. Tobocman and Allen-Barfield navigate the compositional intricacies with finesse, never overwhelming the architecture, always reinforcing it.

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