Hearing saxophonist Vincent Herring’s recent battles with COVID-19 makes it impossible not to root for him and embrace his inner drive that resulted in Preaching to the Choir. Herring’s story is essentially a nightmare with a good ending, at least for now. Last August, he traveled to Las Vegas to take part in a centennial celebration for Charlie Parker. Herring now believes that it was on the return flight to New York that he contracted COVID even though the flu-like symptoms only left him feeling exhausted, not with respiratory issues. Yet the virus reared its ugly head a few weeks later when Herring began feeling pain in his joints. Again, he initially shrugged it off, acknowledging that joint pain is relatively common for those in their fifties. Nonetheless, the pain grew increasingly worse to the point when a blood test proved he had rheumatoid arthritis, a byproduct of COVD-19 and a scary scenario for a musician who relies on dexterity and facility of movement.
Undaunted, Herring forged ahead with the album, intent on spreading a message of optimism and hope with the help of pianist Cyrus Chestnut, bassist Yasushi Nakamura, and drummer Johnathan Blake. The listener does not sense an air of trepidation when listening and is instead rewarded with bright, lively hard bop and post-bop, and touching renditions of some well-known standards. Herring has since, with the help of specialists, managed to get the pain under control.
The album opens with the relaxed stroll of “Dudli’s Dilemma,” an original tune dedicated to the Swiss drummer Joris Dudli. The warmth of that personal relationship lights up Chestnut’s shimmering solo and accents the deft approach of one of the acknowledged best drummers in jazz, Blake. Nakamura ignited the oft-covered standard “Old Devil Moon” by blending it with the famed bass line of Benny Golson’s classic “Killer Joe,” to emphasize the sly aspects of the song. “Ojos de Rojo” is from the legendary pianist Cedar Walton, in whose band Herring played for more than two decades. The saxophonist, enjoying the “home-court advantage,” delivers an effortlessly eloquent solo, mixing both intensity and lyricism. The quartet then wrings every ounce of emotion from Lionel Richie’s “Hello,” with Blake’s deft brushwork cushioning Herring’s gorgeously smooth flowing alto.
We are then treated to the downhome bluesy feel of Wes Montgomery’s “Fried Pies,” a propulsive workout for all three in the rhythm section. Chestnut roams the keys explosively on his own “Minor Swing” before the quartet engages in another standard with Herring’s breathy, solemn tone exuding a melancholic atmosphere for Duke Ellington’s immortal “In a Sentimental Mood,” matched by the delicate restraint of his bandmates. Chestnut, who showed so much vitality on the previous track, is the epitome of delicate support here.
The album title suggests gospel which finally comes with the title track’s call and response head that takes us right into church. Joe Henderson’s “Granted,” begins with a low simmer before bursting out for rapid runs from Herring and Chestnut, capped off by a round of exchanges on the eights with Blake dramatically letting loose. Consistent with the pacing of the album, there is a ballad for every two swinging tunes. As such, it closes on a tender note with Stevie Wonder’s “You Are the Sunshine of My Life,” a celebratory touch for Herring completing the recording.
Herring’s positive spirit imbues this music to the point where one feels it. He still claims to be in constant pain and discomfort so let’s hope his medical support team can control the situation enough to enable him to keep playing. Whether listening to this fine effort or his playing along with fellow altoists Gary Bartz and Bobby Watson on Bird 100, few would argue that Herring is one of the most vital traditional players on the scene.