Jackson Potter: small things

Grandiose gestures are well and good, but it's actually the small things, both independent and aggregated, that often prove most impactful. Those micro events or occurrences can lead to serious matters or link together to create an incredibly meaningful web of wonders at the macro level. That's a fact that Jackson Potter most certainly recognizes. For this, his sophomore date, the Minnesota-reared, New York-based guitarist demonstrates remarkable maturity and attention to detail while weaving together a smartly balanced program with his quintet.

Working with tenor saxophonist Troy Roberts, trumpeter Alex Ridout, bassist Hamish Smith and drummer Marcello Cardillo, Potter is in his element. On Roberts' "Trams," the guitarist and his cohorts alternate between sly and directly swinging pathways with positive results. Hip finger work, long-view developments and a last-act pas de deux between the horns all help to make it a memorable kickoff. Two Potter originals follow that opener and help to establish his voice as a composer: The title track, enhanced by Sophia Formella's wordless vocals and Jaleel Shaw's alto saxophone, presents with postmodern leanings; and "Mr. M" operates with an animated and spirited outlook from end to end.

Potter's pen delivers two additional numbers—"Background Noise," which plays against title with extreme clarity in its arcs, and the tuneful "Sophia's Waltz," a lovely closer that gives Smith some spotlight—and both sit well within a mix of highly agreeable covers. Jerome Kern's "Smoke Gets in Your Eyes," wrapped in a daydream, has Potter playing solo out front, elaborating with sensitive accompaniment behind him and offering some space for the outfit's trumpeter to shine. The group shifts to high gear on Victor Lewis' "Hey, It's Me You're Talking To," where horn trades abound, the leader's fingers fly and Cardillo cuts things up. Dave Brubeck's "The Duke"—six-and-a-half minutes of good cheer—finds Ridout and Potter in peak form. And rubato guitar greetings segue to bright swing on Cole Porter's "Everything I Love." The whole here—of each individual performance and the album itself—has a clear appeal. But getting lost in and appreciating the small things is even more enjoyable.

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