Seldom does an artist burst upon the scene with an impressive debut like Seven Angels from NYC-based trumpeter, composer, arranger and now bandleader John Lake. He made his mark in large ensembles and session work, having moved to Brooklyn from the Midwest seven years ago. He’s been thinking about his own project for years now and puts together an enticing mix of jazz standards and contemporary originals, honoring traditions while blazing his own path.
Lake plays in a quintet or sextet configuration depending on the tune. Joining him are tenor saxophonist Paul Jones, altoist Michael Thomas, pianist Steven Feifke, bassist Marcus Varela, and drummer Jeff Davis. While friends and peers initially discouraged Lake from moving to New York, feeling there may be too much competition and little opportunity, Lake has found just the opposite. He is clearly buoyed by the opportunity to play with so many gifted musicians, talking effusively about those gathered here. “Each song has its own story as it related to my time learning to play in New York City, being influenced not only by my midwestern roots, but also by the stunning array of musicians now surrounding me.” He uses the term “cautious optimism” to describe the title track, explaining, “I wrote this around the time that I really felt that I was starting to have something to say…that I knew who I was as a composer and performer. It’s cooled out, it’s alternately dark and simmering, without being too rowdy. I love to work in subtlety.”
Originals include the searing opener, “The Bet,” based on and named after the short story by Chekhov about self-imprisonment, coincidentally perfect for a country slowly emerging from the health pandemic. There’s Steven Feifke’s stark solo piano intro to the hard bop tune “Pearls of Tartar” dedicated to Horace Silver. Once the tune kicks in, the swing, funk, and feeling we associate with Sliver is manifested in the front line ensemble theme with Jones playing counterpoint to Lake’s lines while each also solos passionately as Feifke comps and the rhythm section pushes that Silver vibe. Other originals include the spacey “Nightwatch,” the contemporary breakbeat “cloud_down,” and the loosely composed “Whelmed,” which offers free form statements.
Two of the tunes are rendered with a sextet, again a testament to Lake’s love of hard bop and totally acoustic lineups. So, they cover Joe Henderson’s “A Shade of Jade” by inviting in altoist Michael Thomas as a third voice. Thomas comes ready to play, unleashing a flurry of notes in his blistering solo. Lake adds, “Joe Henderson’s compositions have always captivated me – he uses such luminous and colorful harmonies, and it was natural to feature the saxophonists on that tune.”
This is the first time this writer has heard the new generation players Lake, Jones, and Thomas and all are expressive inventive soloists. Jones and Thomas, as you’d expect also have impressive resumes and albums of their own as bandleaders that you may want to seek out. You hear the three of them on the front line again in “Signal Changes,” a spirited Afro-Latin tune with melodic lines. Jones does the arrangement on the contemplative closer, “Everything I Love,” another example of Lake’s penchant for subtlety. For his part, Feifke is one of emerging piano talents in New York and you’ll see his name on several recent works, including the brilliant new release from alto saxophonist/composer Alexa Tarantino, Clarity.
Lake impresses throughout with his robust tone and expressive playing while proving to be an equally strong composer and arranger. This is first-rate acoustic, straight-ahead jazz that’s a harbinger of many more great recordings from John Lake, who is off to a highly auspicious start.
