Grant Stewart: Next Spring

Grant Stewart's Next Spring reaffirms his position as a leading figure in the current mainstream jazz scene. With his strong tone and deeply swinging phrasing, Stewart again channels the legacies of Sonny Rollins, Charlie Parker, and Joe Henderson, yet his voice remains distinctly his own. Recorded at the iconic Van Gelder Studios in Englewood Cliffs, NJ, and supported by his longtime collaborators pianist Tardo Hammer, bassist Paul Sikivie, and drummer Phil Stewart, he crafts a set that feels both fresh and timeless, blending rarely performed standards with well-known jazz classics.

The title track "Next Spring" opens the album with its melody unfolding at a moderate tempo, allowing Stewart's warm tenor to explore the tune's nuances with creativity. Hammer's solo is rich with two-handed swing, while bassist Sikivie demonstrates his dexterity leading into the closing sections. "Kiss & Run," long associated with Rollins, features Stewart in spirited form. His phrasing shifts between brisk hard-bop runs and spacious pauses, a reminder of Rollins' gift for narrative improvisation. Stewart's drumming drives the tune at a swift pace, and Sikivie's arco solo is notably tasty. A series of crisp exchanges between the tenor, piano, and drums matches the piece's exuberance.

One of the more well-known compositions is Wayne Shorter's "Nefertiti," which stands out as a bold choice. Stewart avoids the ethereal, floating feel of the Miles Davis version for the 1968 Columbia Records release Nefertiti, in which the horn section repeats the melody while the rhythm section improvises underneath, for a more grounded, swinging interpretation. His improvisation builds patiently, layering rhythmic tension before resolving into calming lyricism. "I Know That You Know" is a tour de force of virtuosity and swing. His solo brims with bebop invention, each phrase a seamless blend of melodic logic and rhythmic daring. Hammer's solo that follows is filled with clarity and weaving crisp lines. The rhythm section, particularly Sikivie's walking bass, keeps the performance tightly coiled yet exuberant.

Canadian tenor saxophone innovator Bob Mover wrote "May In June," and it is a lyric gem, played with tender restraint. Stewart's breathy delivery and carefully shaped vibrato reveal his sensitivity to melody. Hammer picks up the line and elaborates on what the number's structure reveals. Sikivie again shows he is a bassist who revels in the situation. The closer is "There's No You" which was featured on the 1957 Capitol Records release Where Are You by Frank Sinatra. Stewart offers the number as a lush ballad statement, imbued with warmth and introspection. The album stands as a testament to Stewart's artistry, a thoughtful blend of technical mastery, emotional depth and unpretentious swing.