I don’t know if the album’s title is meant to refer to Alt, but she is a talent that deserves a much higher profile in the jazz world. A very pleasing album indeed.
Venus Tunes ALTO 34
Susanne Alt (alto saxophone; tenor saxophone; soprano saxophone; flute; percussion); James Hurt (piano, Fender Rhodes, clavinet, synth, percussion); Gerald Cannon (bass); Willie Jones III (drums); Robert Glass percussion on ‘Kalunga Dance’
Recorded Eastside Sound, New York, NY 15 & 16 February 2022
By coincidence, German saxophonist Susanne Alt is based in Amsterdam, birthplace of another female jazz saxophonist, Candy Dulfer. This is Alt’s seventh album as leader, and follows on from the 2024 release, Royalty for Real, her well-received acoustic album tribute to Roy Hargrove.
This album was not planned. After recording Royalty for Roy, Alt still had additional unrecorded material, which was a mix of jazz, soul, funk, Latin and bop numbers. But this album is much more than a collection of musical leftovers. As if to stress the continuity between this and Alt’s previous album, a photograph taken from the same photoshoot for Royalty for Real is used for this album cover.
It’s easy to understand why Alt was keen to continue working with the same quartet who recorded Royalty for Roy. Bassist Gerald Cannon and drummer Willie Jones III are both alumni of Hargrove’s band, and the artists they have played with include Dexter Gordon, Elvin Jones, Horace Silver, Herbie Hancock, Hank Jones, Cedar Walton, Art Blakey and McCoy Tyner. Keyboardist James Hurt has recorded for Blue Note, and worked with Donald Byrd. He’s one of those artists who are comfortable with both acoustic and electronic keyboards, as well as various musical genres including jazz, funk and hip-hop. Alt plays alto, tenor and soprano sax and has composed all but one of the album’s eight tunes. She’s also produced the album, made the horns arrangements and edited the album.
The opening number ‘Jazz Biotic’ is a jazz-funk tune that has Jones and Cannon laying down a strong groove, as Alt’s smooth-sounding alto sax glides over Hurt’s chunky, funky organ chords. It’s a good foot tapping opener. ‘Attitudes Of Freedom’ has a busy, syncopated beat, and combines flowing sax lines with a soaring synth line which reminds this listener of Kool and the Gang’s jazz-soul tune ‘Summer Madness.’ It’s the aural equivalent of a bird floating high up in the sky.
There’s a sense of urgency to the sound of the album’s title track, which features lots of powerful playing on alto sax and a long, energized piano solo by Hurt. The album’s only cover – Charlie Parker’s bebop classic ‘Au Privave’ – is a spontaneous jam that happened because Hurt was late arriving at the studio.
‘Okay, let’s kick off,’ says one of the rhythm members as the trio launch into a swinging and zinging jam that includes a bass solo with plenty of swing from Cannon that leads in the alto sax and drums trading fours. The piece ends with laughter from one of the male band members, who declares ‘ Yeah, Susanne. Okay.’
‘Maple Jam’ is a jazz-funk tune with a smooth, slinky feel, and one of this listener’s favourites. It’s dedicated to the late keyboardist Larry Willis, although it sounds like a David Sanborn tune made during his ‘Upfront’ period in the early 90s – and that’s meant as a compliment.
Two numbers are dedicated to the rhythm section members, ‘Cannonballin,’ a slow funk tune with fine bass and electric piano solos, and ‘Jonesin’’ a midtempo piece with a tight groove, extended acoustic piano solo, and a dramatic ending that concludes with the sweet sound of a flute floating over a blizzard of drums fills.
‘Katunga Dance,’ is a lovely song, with its bright, breezy theme played on alto sax and the band laying down a light Latin groove. Hurt is in the spotlight again with another long solo, whose flowing, percussive style brings to mind McCoy Tyner. It is a joyous piece.
I don’t know if the album’s title is meant to refer to Alt, but she is a talent that deserves a much higher profile in the jazz world. A very pleasing album indeed.
