Jacob Chung: The Sage

On The Sage, his second album as leader, Canadian-bred saxophonist Jacob Chung lends credence to a speculative yet widely held belief that contempory jazz continues to grow and prosper north of the American border. Chung is no mere hobbyist, nor are his veteran helpmates —one of whom, alto saxophonist Vincent Herring, has been a force on the New York jazz scene for more than four decades, recording at least twenty albums under his name and appearing as a sideman on more than two hundred-fifty others.

What sets Chung apart from many of his peers is an ability to produce indelible phrases while retaining complete control of his horn at any tempo and on any footing. His solos are always fluent and engaging, as are those of Herring, an inspiring and dependable front-line partner if ever there was one. Herring appears on five of the album's eight numbers, and his assertive voice is pleasing and invaluable. When Herring isn't sitting in, Chung relies more heavily on his sturdy rhythm section: pianist Tyler Henderson, bassist Caleb Tobocman and veteran drummer Joe Farnsworth, none of whom is less than impressive. Henderson's warm and graceful piano is well-served on several numbers, while Farnsworth takes a long and powerful solo on Chung's radiant and fast-moving finale, "Dim Sum."

Chung wrote all but two of the album's generally attractive themes (the others are Duke Pearson's oft-revived "Jeannine" and the Gershwin brothers' lovely standard, "Embraceable You"). "Dim Sum" is a high point but no more than a measure or so sternward from the others: "My Aspiration," "Thompson's Pulpit," "The Sage," "Imminent Parousia" and "Vincent's Place" (on which Herring doesn't appear). In other words, Chung is a splendid composer and arranger, and every number on The Sage is admirable and worth hearing.

Chung is a rising star whose light promises to become even brighter and more decisive as his mastery and assurance evolve. With The Sage, he proves that he is not only on the right track but has a running start.

Comments