Jacob Wutzke: You Better Bet

Jacob Wutzke, long an admirer of fellow drummer and composer Tony Williams, moved closer to Williams' orbit several years ago when acclaimed bassist Ira Coleman—who had performed and recorded with Williams in the 1980s and '90s— relocated to Wutzke's home base in Montreal, Canada. After meeting Coleman, Wutzke proposed the idea of recording an album of Williams' music, to which Coleman replied that not only was he down with that but had in his possession Williams' entire repertoire including dozens of handwritten charts. And so the framework of You Better Bet, Wutzke's second recording as leader of his own group, was assembled.

After contacting and recruiting a trio of his favored musicians, Wutzke—with Coleman's input—designed an album that is, compositionally speaking, equal parts Wutzke and Williams, as it consists of ten original works, half of which were written by Williams, the others by Wutzke. Even though each may differ expressively and symmetrically, all were written with the same pattern in mind, which is basically modern post-bop with strong harmonic and rhythmic components.

Wutzke and Coleman helm an impressive quintet whose avid teammates and stellar soloists are trumpeter Rachel Therrien, tenor saxophonist Lukas Dubovik and pianist Bryn Roberts. When embarking on any enterprise, it is artists such as these that ease one's uncertainty and help set the mind at ease. Besides working closely in tandem, Wutzke's companions solo often, and never without ingenuity and insight. Wutzke and Coleman keep flawless time, giving the front-liners a smooth and spacious runway from which to soar.

Therrien and Dubovik, relatively new voices in the wider jazz world, should be heard more often, as they have much of interest to impart, as does Roberts whose solos are invariably trim and eloquent. Wutzke takes only one extended solo, on his bright finale (and title song), and it is a humdinger. While the songs on You Better Bet were no doubt carefully chosen, tempos for the most part are medium to brisk, with nary a ballad on the horizon, nor any flat-out burners that would challenge even the sturdiest of chops. Aside from that, no complaints.

No demurrals elsewhere either, as the premise that led to coupling the music of Wutzke and Williams, if not brilliant, is at least close enough to earn high marks for planning and performance.

Comments