Search - Andy Snitzer :: Sugar

I bought this disc . . .

Jan P. Dennis | Monument, CO USA | 10/05/2002

(4 out of 5 stars)

". . . knowing nothing about Andy Snitzer. I got it because of the sidemen, esp. James Genus (bass) and Clarence Penn (drums), both formidable jazz practioners. I am not familiar with Alain Mallet, on piano and keys (tho his name seems vaguely familiar and I believe I have him on some record or other in my 1,000 + jazz collection). I have since found out that Snitzer has an extensive career as a studio musician, has toured with the Rolling Stones, replacing, of all people, Michael Brecker (try following that act!!) (hence, probably, the inclusion of "Wild Horses"), and is currently a member of Paul Simon's band. He also has three "smooth Jazz" records to his credit, is a record producer, and studio wizard. Not your typical jazz resume.Can such a musician succeed in the world of acoustic jazz? One wouldn't think so. Yet by surrounding himself with a truly gifted rhythm section, he produces something that, although it's not really pure acoustic jazz, will probably please most casual fans. If I were to catagorize what's going on here, it's probably somewhere between David Sanborn at his jazziest and, say, a typical Joe Lovano session (if there is such a thing, given his latest recorded excrusions). That is to say, that, for example, while their take on Coltrane's "Blue Train" will probably not be mistaken for the original, neither is it an embarrassment. Moreover, there is plenty of interesting, even inspired, interplay between the headliner and the worldclass rhythm section (check out esp. their take on Kurt Weill's "Moritat," more familiarly know as "Mack the Knife," where Snitzer also plays a creditable, if somewhat stiff-sounding solo).The inclusion of more poppish material, such as "A Song for You," that old Leon Russell chestnut, is probably meant to help his smooth jazz fans make the transition from his more obviously radio-friendly first albums, to this, his foray into that weird foreign territory known as, simply, jazz.And if Sugar is the means by which more people are introduced to "real" jazz, that's fine by me. At one time I thought Russ Freeman was it. Then I somehow got on to Mulgrew Miller's The Countdown and Art Farmer's Ph.D--admittedly listener-friendly yet authentic jazz recordings--and my musical horizons were changed forever. In any case, I've got to give Mr. Snitzer credit for taking a chance on playing in a brave new context, foregoing his studio tricks and playing it straight. The results are eminently listenable, if not revolutionary."