With SANCTUARY, Anick and Yeager not only create a musical refuge but invite listeners to reflect on their own meanings of safety and solace in a world often marked by chaos.
Sunnyside Records
Jason Anick – Violin, Compositions; Jason Yeager – Piano, Compositions; Billy Buss – Trumpet, Fluegelhorn; Greg Loughman – Bass; Mike Connors – Drums
Guest Appearances: Jason Palmer – Trumpet; Edmar Colón – Tenor Saxophone; Naseem Alatrash – Cello
The first time I listened to violinist Jason Anick and pianist Jason Yeager’s SANCTUARY album, I was reminded of how much I enjoyed violinist Billy Bang’s recordings from the ’80s and ’90s. While Bang’s playing was rawer, blending elements of the avant-garde with bluesy phrasing, Anick’s style reflects his classical background, giving his sound a more refined and elegant edge. Bang didn’t often use pianists, but Anick has the perfect foil in Jason Yeager.
Anick started playing violin at age 5, but it wasn’t until he saw the legendary Stéphane Grappelli around age 12 that he became interested in jazz and improvisation. Anick has launched a couple of musical projects over the years, including the Gypsy Jazz group Rhythm Future Quartet, and the Americana-inspired Acoustic Trio.
Now based in New York City, Jason Yeager has released seven albums as a leader and has contributed to 25 more as a sideman. He’s performed and recorded with artists like Luciana Souza, Ran Blake, Ben Monder, Steve Wilson, Jason Palmer, Aubrey Johnson, and many others. He has played legendary venues like Carnegie Hall, the Blue Note, Smalls Jazz Club, and Birdland Jazz Club, as well as festivals like the Panama Jazz Festival and the Festival Internacional de Jazz de Costa Rica.
SANCTUARY builds on the foundation of their 2017 album UNITED, which came out of a long friendship and musical partnership. Anick and Yeager first met as teens at a local jam session in Boston. Besides still playing together they now both teach at Berklee College of Music.
The title of the album, Sanctuary, holds a unique meaning for everyone. For some, it’s a home or safe haven; for others, it’s something more personal, like family, memories, or peaceful solitude. On SANCTUARY, violinist Jason Anick and pianist Jason Yeager explore these interpretations through their own form of refuge: the music they create.
“Futures Past” captures how swiftly the future we imagine can be shattered by the unexpected. As Yeager notes, “You’re not just losing your present reality; you’re also watching the dreams and hopes you held for the future slip away.” The band is in top form here—Yeager delivers a compelling solo, followed by a standout trumpet improvisation. Bassist Greg Loughman and drummer Mike Connors drive the momentum with lyrical precision, while Anick steps in near the end, cueing the ensemble to play in unison.
Palestinian cellist Naseem Alatrash was awarded String Player of the Year twice in his home country. He brings his talent to the pieces “Persecution” and “Farewell,” both of which explore the theme of people being uprooted from their homes by tragedy. As Yeager puts it, “Both pieces have to do with people fleeing injustice, war, poverty, and violence.” “Persecution” is more aggressive, while “Farewell” takes on a more contemplative mood. Alatrash’s cello tone is rich and resonant, like a deep, warm voice that effortlessly fills the room.
Two standout pieces from other composers shine through in this set. Tenor saxophonist Edmar Colón delivers a brilliant solo on Wayne Shorter’s “Lost,” and Anick also solos beautifully. They include a captivating rendition of Chopin’s “Raindrop Prelude Op. 28, No. 15 in Db Major,” where Anick’s use of more vibrato highlights his classical training.
With SANCTUARY, Anick and Yeager not only create a musical refuge but invite listeners to reflect on their own meanings of safety and solace in a world often marked by chaos.
