Pianist/composer/beatsmith Javier Santiago had so much music in the can for his 2018 debut, Phoenix, that he reserved these more traditional, acoustic-oriented tracks for this, B-Sides: The Phoenix Sessions, a set of all originals, save one that’s a takeoff on an American standard. Santiago plays mostly acoustic piano, but you’ll hear Fender Rhodes, organ and synths too. This is a slightly different cast than those that graced his debut but an equally stellar cast. It features two of today’s rising saxophonists, Ben Flocks and Dayna Stephens as well as returning guitar heavyweight Nir Felder. Zach Brown plays both upright and electric bass (also co-produces and mixes) with Corey Fonville on drums throughout and guest Greg Byers on multiple strings for one track. Santiago says, “These compositions that didn’t make the original Phoenix record are very close to my heart and I just couldn’t stand to see them sit in the vault and collect dust.”
The title of the opener, “Change Is The Only Constant” is appropriate for this collection of tunes, which features different configurations throughout. In fact, the only constant is the trio of Santiago, Brown and Fonville. The tune opens with a mysterious vamp in 5/4 time before morphing into an anthemic melody that closes with a fiery drum solo from Fonville. The entire band (sextet) follows with “Resilience,” featuring Stephens on soprano, Flocks on tenor, and Felder on guitar for this medium-tempo, rather contemplative piece. Santiago wrote the string parts for “Fearless” where guest Byers plays violin, viola, and cello with Felder igniting the piece with his guitar lines as Stephens closes it with a fiery soprano excursion.
More traditional fare is found in “Cedar Avenue,” a tribute to the late great pianist Cedar Walton that has Stephens on soprano and Flocks on tenor; as well as “Nocturne Du Romare” a nod to the great 20th century American artist. It’s the only track where both saxophonists are on tenor. Santiago comments, “…This one was inspired by his painting New York at Night….A lot of blues and blacks in the sound palette.” Flocks, who plays tenor on four tracks and soprano on two (Stephens has four on soprano and one on tenor), has largely developed his rising reputation on tenor but reveals a highly lyrical soprano on the two ballads, “A Second Chance” and “For Unity,” the latter a reimagined version from Santiago’s trio recording on his 2015 EP Year of the Horse.
Of course, there’s a nod to Santiago’s Afro-Cuban influences, most prominently on “King Klave’s Return,” dedicated to a close collaborator and friend, fellow Ropeadope artist, drummer/composer King Klave. Again, Stephens’ aggressive soprano drives amidst the Afro-Cuban rhythms and jazz harmonies. The album closes in trio format with “Beautiful Love” from the Great American Songbook, a song interpreted by Bill Evans and Benny Golson, among others. Santiago’s own distinctive harmonic sounds come through on both piano and organ while his rhythm section stays sturdy.
Whether you are a piano fan, saxophone fan or guitar fan, there’s plenty to enjoy in these compositions performed by some of today’s top contemporary players. There’s no sophomore jinx for Santiago. He made the right move but revealing these “B-sides.”
