Probably best before leaping in to this latest from Robin Verheyen or soon afterwards is to go find Someday.
Reason being is the Marc Copland link. The great pianist isn’t on this new album Liftoff which is made up mainly of saxophonist Robin Verheyen’s striking originals.
But his spirit is. And the jaunty drag of Copland piece ‘Tripping in Times Square’ actually opens Liftoff.
And that’s not all. Because Copland co-produced.
Copland and Verheyen have worked together for more than a decade. Someday like this was issued – that one back in 2023 – on the InnerVoice Jazz label under Copland’s name.
Bassist Drew Gress on the Bagatelles John Zorn release we also reviewed today was also on Someday that comprised Verheyen and Copland compositions plus standards.
Recorded in a New Jersey studio
This new album which has some wonderful soprano sax playing which is just as impactful as the tenor playing was recorded over a couple of days in April last year at a studio in the New Jersey town of Montclair.
What a beautiful version of ‘Over the Rainbow’
The only standard interest is a beautiful version of ‘Over the Rainbow’ beautiful for the introduction, Billy Hart’s tempo and the grazing quality of Gress’ tread lightly beat.
But it’s Verheyen’s tunes that got me into this album firstly especially the balladic balm found in quantity on ‘Soul Searching.’
Hart’s stateliness – he’s one of the best jazz drummers anywhere – is a big plus factor throughout on this very stripped back Wayne Shorter inspired recording.
Verheyen can make the sax speak
Another earlier album involving Copland, Gress and Hart appeared 7 years ago entitled When the Birds Leave which is probably an even better point of comparison than Someday.
Verheyen, 42, studied in Belgium, the Netherlands and in America at the Manhattan School of Music.
Verheyen has also recorded albums with the great Frisellian Joey Baron and reworked Bach on a 2021 album called The Bach Riddles.
His soprano sax playing was the focus of an album called Playing the Room released two years ago
Verheyen can make the sax speak. His sound is as personal as a human voice such is his limitless reserves of expressivity.
It’s all about the character he is able to sketch timbrally and that his playing mates are able to believe in. He also displays a great sense of timing. The album works because of the way it uses space. The trio display ”all the time in the world,” as the Louis Armstrong song has it. ”Time enough for life to unfold, all the precious things love has in store.”
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