Marina Pacowski: New Jazz Standards, Volume 7

To those who know—really know—their breathtaking jazz trumpeters, Carl Saunders was definitely in a class by himself. Simply put, there was nothing Saunders could not do on the horn, from nailing seemingly insurmountable high notes to creating intricate and mind- blowing solos, all the while making it seem so effortless that many listeners thought he must have found and harnessed a secret weapon of which others were unaware.

What many of his admirers did not know was that Saunders, who died in February 2023 at age eighty, was also a superb composer who had self-produced six volumes of music he modestly labeled "new jazz standards." Volume seven, Saunders avowed, would consist of music he had written especially for vocalists. Although he passed away before that vision could be realized, Saunders did find a singer he felt could best interpret his music: Marina Pacowski, a French-born classical pianist with a sunny little-girl voice, impressive range and flexible style. She had relocated to the States and become one of Saunders' vocalists of choice.

On New Jazz Standards, Volume 7, Pacowski braves—with mixed results—a dozen of Saunders' clever and sophisticated original compositions, none of which is an easy ride for any singer, let alone one whose feathery style and French accent compromise the impact and transparency of some lyrics, especially on faster-paced numbers. That is an obvious liability, as the lyrics—only two of which were written by Saunders—represent the heart and soul of Volume 7, the meat that fleshes out the bones of Saunders' themes. Their clarity is essential, which is not always the case here.

That is not to say that Pacowski is not giving the music the best she has to offer. She throws her heart into every song, and her pace and phrasing are commendable. She also scats reasonably well on several numbers. On the other hand, there is no evading that accent and the adverse effect it can have on a lyric, a handicap that is immediately clear on the witty "August in New York" and other up-tempo tunes such as "Is That Asking Too Much?" and "Do You Dig Being Dug?" Pacowski fares appreciably better on more balladic offerings such as "High on Blueberry Pie," "Feels Like Home," "I Need a Dream," "Alone," "Always in My Heart" and "Sweet Talk," the last a charming duet with guest vocalist John Proulx, bolstered by a second welcome visitor, clarinetist Ken Peplowski.

Turning to Pacowski's supporting cast, it is about as virtuosic and helpful as they come, with trumpeter Ron Stout, tenor Rickey Woodard and trombonist Scott Whitfield comprising an enviable melodic phalanx whose rhythmic counterparts are guitarist Larry Koonse, bassists John Clayton or Ken Wild, pianist Josh Nelson and drummer Roy McCurdy—the cream of an abundant West Coast crop. After the vocals have come and gone, Pacowski appends a solo piano epilogue, Frederic Chopin's endearing "Minute Waltz."

If nothing else, New Jazz Standards, Volume 7 reaffirms that in addition to his well-earned reputation as a mind-bending trumpeter, Carl Saunders was a brilliant composer whose substantial body of work deserves to be more widely heard and appreciated. Whether the vocal ingredients of his music lie in the best possible hands here is for the listener to decide.