Jon Gordon: Stranger Than Fiction
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Jon Gordon's reputation as an elite, world-class player precedes him on this latest expression of alto saxophone artistry. Praise from esteemed personages such as Phil Woods and Wayne Shorter and multiple showings in Downbeat Magazine's critics poll over the years raise expectations for Stranger Than Fiction, a nonet-executed set of Gordon originals. He teaches in the University of Manitoba's jazz program and included faculty members and former students on the project, in addition to special guests John Ellis, Alan Ferber, and The Bad Plus's Orrin Evans.

With the leader's alto joined by trumpet (Derrick Gardner), trombone (Ferber), tenor sax (Reginald Lewis, Tristan Martinuson), bass clarinet (Ellis, Anna Blackmore), piano (Will Bonness, Evans), bass (Julian Bradford), and drums (Fabio Ragnelli), the ensemble's sound is full, robust, and rich. The presence of bass clarinet adds a distinctive flavour to the performances, as do the guitar and voice of Jocelyn Gould on a number of tracks.

Whereas most of the ten pieces feature one each of the tenor saxists and bass clarinetists, all four appear on the opening “Pointillism.” In that heady scene-setter, an intro of micro-statements by the players gradually gives way to a rapid flow of high-flying expressions by Gordon, with Ragnelli providing major thrust alongside. Up next, the as-energized “Havens” smartly conjoins dynamic individual solos (a strong one from Bonness, for example) to an intricate, ever-shifting backdrop.

Those opening tracks might lead one to anticipate more of the same will follow, but Gordon generally opts thereafter for a slightly cooler approach, a wise strategy perhaps for amplifying the colours of a nonet-sized outfit. The pace slows to a sultry mid-tempo for the title track, for instance, which allows the mellifluous textures of the woodwinds and horns to be all the better savoured. It's Gordon's date, obviously, but he's not averse to sharing the spotlight. Martinuson graces the tune with a memorably swinging solo, and Evans embroiders it with a thoughtful statement too.

Though delivered at a faster tempo, “Dance” likewise allows the colours of the horns and woodwinds to blossom—even if one's attention naturally shifts to Gordon during his authoritative solo. The breezily swinging “Counterpoint” benefits from memorable turns by the leader, Ellis, and guitarist Larry Roy, the latter a guest on this track only. Ferber and Gardner make their presence felt on “Modality” with robust solos, though generally blend into the ensemble otherwise. Without departing too radically from the album's overall sound, “Sunyasin” does deviate from it through the addition of Gould's wordless vocals; the brevity of the track lessens whatever impact it could have potentially had, however.

October 2021