Daniel Bennett Group: The Deconstructed Songbook

In many cases, the idea of "deconstruction" suggests dismantling something to reveal its inner workings. When it comes to art, this is often done in ways that lean toward the avant-garde. But on The Deconstructed Songbook, veteran saxophonist Daniel Bennett takes a different approach. Rather than tearing down familiar material, he reshapes it into something both familiar and modern, offering a new perspective on a collection of mostly well-known songs.

Bennett, an award-winning performer and composer with more than a decade of recordings to his credit, has built a reputation as an original voice in contemporary jazz. As he notes, The Deconstructed Songbook represents a shift in focus: "People know me as a composer. This album allows the world to see how I interpret other composers." That mission comes through clearly throughout the album, which blends jazz standards, popular song, and Bennett's own work into a cohesive and engaging program.

Bennett is joined by Jason Yeager on piano, guitarist Nat Janoff, Jeff Dingler on electric bass and Koko Bermejo on drums. The chemistry among the players is present throughout the recording. While there is plenty of room for improvisation, the group's sense of interplay remains at the forefront.

At first glance, the track list seems like fairly familiar territory. Bennett includes selections like Wes Montgomery's "Road Song," Horace Silver's "Nica's Dream," and Harold Arlen's "My Shining Hour." Although these are jazz standards, the approach here is far from standard. Here, the musicians approach each piece with a forward-looking perspective rather than relying on traditional arrangements. The result is an accessible blend of recognizable favorites with a modern flair.

The album opens with "Road Song," immediately establishing the group's dynamics. The performance is lively and fluid, with each musician contributing to a collective momentum that feels both relaxed and intentional. Janoff and Yeager provide a strong harmonic foundation, while Bennett's technique and phrasing here highlight his command of the instrument.

"Nica's Dream" follows with an especially upbeat energy. Bennett and Janoff develop a musical conversation, capturing the spirit of Horace Silver 's original while giving it a slightly more contemporary feel. There's an uplifting quality here, and throughout the album, that dials in modernity without getting experimental.

The focus here is not limited to tried-and-true jazz standards. Bennett's take on Joni Mitchell's "Both Sides Now" gives the song a nice groove while preserving some of the original's melancholy. Similarly, "Here, There and Everywhere" by John Lennon and Paul McCartney offers an enjoyable interpretation of a popular favorite.

Along with his versions of the classics, Bennett also includes an original composition, "The Town Supervisor," which stands toe-to-toe with the standards. Built around a jazz waltz feel, the piece adds another dimension to the album, highlighting Bennett's compositional talent without detracting from the album's overall vibe.

What ultimately sets The Deconstructed Songbook apart is its sense of optimism. While the title might suggest fragmentation, the music itself provides a modern sense of unity. Bennett's approach is not about breaking songs down for the sake of experimentation, but instead about uncovering new possibilities for the music. The result is an album that feels both thoughtful and inviting. It is a reminder that deconstruction and reworking, when done well, can be as creative as composition itself.