Cover art that suggests a salute to retro illustration can only mean one thing: class.
Manhattan-born saxophonist Larry Slezak has been making professional music rounds since he turned fourteen in 1960, and while he possesses more proverbial feathers than most other musicians could dream of, his first album as a leader, No Worries, has arrived in classic fashion.
While major record labels continue to pump out sub-par works with bland, impersonal cover art, Mr. Slezak catches listeners’ eyes before a single note even is played; rarely is a touch as personal and simple as a sketch “allowed” to grace the cover of a highly marketable product nowadays, but this is proof that creativity and artistry are alive and well. Keeping in step with the illustration, Slezak kicks the album off in style with Bernie Hatch’s “Floatin’.” With the aid of a lush piano introduction, he floats in alongside a super-pocketed combo of piano, bass, and drums; his tone possesses a pleasant balance of both brightness and warmth – a desirable sound among tenor saxophonists. Slezak floats in, makes his melodic statement via solo, and floats out. The Freed/Lane composition “How About You” follows with hints of a Stan Getz-like melodic interpretation, then rips into a solo possessing forward motion with regard to both motif, dynamics, and energetic development; the aid of a pocketed rhythm section serves as the rock-solid foundation. Before track three sounds a single note, Slezak has displayed his ability to get in, say what he wants to say, and get out – in superb fashion.
Following the swinging guitar and B3-filled original “No Worries,” listeners are indulged with Jose Feliciano’s “Chico And The Man” via Slezak’s soprano saxophone acumen, a luscious string arrangement of “You’ve Changed” that transports listeners back to the golden days of jazz, and “Distant Harmony” and “Maybe By Tomorrow” – evidential tracks confirming that Mr. Slezak is not rooted solely in classic jazz, but can tango with the contemporary as well. Neal Hefti’s “Girl Talk” serves as a soprano saxophone feature that offers not only a deadly-to-keep tempo, but swooning, lip-curling, one-eye-closing, melodic flirtations that glide effortlessly overtop a supportive B3 accompaniment. To round out the album even further, vocalist Sheri Lavo takes the lead on “Wee Small Hours” and “Cry Me A River” (check out Slezak’s solo on the latter); the effective blend of a female vocalist, saxophone, and strings is a welcome sound to the ears. Just as listeners are welcomed in by “Floatin’,” they are sent off with a gentle wave via Slezak’s trusty Bb tenor sidekick – a perfect period to conclude the final musical paragraph of No Worries.
In addition to the outstanding piece that Mr. Slezak has created via No Worries, it is evident (in both his playing and the black and white photo beneath the CD tray) that the musicians sharing in this experience are happy to be aboard – with smiles abundant. Albums such as this are testament to the fact that jazz, and music in general, is, and always will be, alive and well.
Matt Jaworski – Muzikreviews.com Staff
September 7, 2009
For questions or comments regarding this review, email: mjaworski@muzikreviews.com