Grant Stewart: Next Spring

There aren't many jazz saxophonists who can hold the floor and the listener's ear through an entire album without ever sounding banal or redundant. Here is one who can. Next Spring is renowned tenor saxophonist Grant Stewart's fifth recording for Cory Weeds' Cellar Music Group, and if it includes any moments that are less than engaging, they are all but impossible to discern.

Stewart's personal ingredient is consistency, an ability to conceive and convey fresh ideas in real time regardless of tone or tempo. That comes with experience, and Stewart has been at the top of his game for more than three decades, since relocating from his native Toronto, Canada, to New York City in 1990. Besides playing regularly at home and around the world, Stewart is founder and director of the hands-on Tribeca Jazz Institute in Lower Manhattan, which he describes as "an anti-school school...more like a boxing gym for players who can already play..."

And speaking of players who can already play, Stewart's ensemble comprises a trio of savvy and seasoned teammates: pianist Tardo Hammer, bassist Paul Sikivie and Grant's brother, drummer Phil Stewart. Besides giving Stewart unflagging support, each of them is a sharp and agile soloist who makes the most of every opportunity to impress. Even so, there is no doubt whose gig this is, as Stewart leans hard into every solo and leaves nothing on the table, showing time and again why he is so highly regarded by his peers and by audiences who appreciate his concepts and commitment.

The playlist is a pleasing blend of standards and original compositions, starting with Marvin Jenkins' cheerful "Next Spring," Sam Coslow's exuberant "Kiss and Run" (which calls to mind the standard "I'll Remember April") and Wayne Shorter's graceful "Nefertiti." "Father Flanagan," Barry Harris' fond salute to fellow pianist Tommy Flanagan, leads to the first of three standards, the bright and fast-paced "I Know That You Know," which precedes Bob Mover's sunny "May in June" and Thelonious Monk's debonair "Introspection." Stewart and the ensemble wrap the charming package with two more evergreens, "I Won't Dance" and "There's No You."

Even though Stewart is the focal point, this is a unit that works quite well together, leaving no melodic or rhythmic requirements to chance. Next Spring is straight-on, no-frills contemporary jazz, splendidly performed by four masters of the genre.

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