The pairing of acclaimed saxophonist and composer Jim Snidero with contemporary guitar great Kurt Rosenwinkel may seem unlikely at first but the unique harmonics in Snidero’s Far Far Away attest to its success. Fresh off the heels of a 5-star Downbeat rating for his 2021 Live at the Deer Head Inn, Snidero didn’t exactly jump into the deep end of the pool here as he retains the stellar rhythm section from that recording with pianist Orrin Evans, bassist Peter Washington, and “Time to Swing” drummer Joe Farnsworth. This album though has far more original material, written specifically with Rosenwinkel in mind, along with renderings of the gorgeous ballads “It Might As Well Be Spring” and McCoy Tyner’s classic “Search for Peace.”
There are so many wonderful sequences and the interplay between Snidero and Rosenwinkel that the sonic beauty of the album reminds at times of the Michael Brecker – Pat Metheny collaboration on Brecker’s Tales from the Hudson. Snidero’s original “Obsession” is a classic example of such. Yet, Snidero had another Pat in mind for the tune of the same name dedicated to the late guitarist Pat Martino. That one, as evidenced by Evans’ solo, is blues based which both the leader’s liquid lines and Rosenwinkel’s rapid flowing picking reflecting their homage to the guitar great. Following the guitar solo, Washington takes a bow and he and Farnsworth build some swing into the tribute.
We are getting a bit ahead of ourselves, however. The album kicks off with the title track and we sense the high level of harmonics between the main collaborators instantly. The wave-like, spiraling lines of each unfold easily until midway they are not so much gliding but engaged in a full-throttle swinging dance that eases enough to allow for Evans to take flight and timekeeper Farnsworth to drive the tempo until he too steps in with a solo. “Infinity” begins with Snidero blowing soulfully over Evans’ bluesy chords before Rosenwinkel enters, mirroring Snidero’s melodic lines. Farnsworth’s crisp beats ignite a series of impassioned Snidero choruses, which in turn a soaring Rosenwinkel echoes in his statement. This is heady stuff, balanced beautifully with deep feeling and smooth, floating quality. The standard follows, the epitome of Snidero’s exquisite, achingly elegant feel for balladry. “Nowhere to Hide” reveals harmonic tension, a spirited turn from the leader, and Rosenwinkel’s molten liquid runs in perhaps his best spot on the album with Evans comping in fine style until he unleashes a brief glistening turn.
They do an exemplary job of matching the solemn spirituality of McCoy’s “Search for Peace.” Again, the leader’s unparalleled tender side complements Rosenwinkel’s singing, almost synthesizer-like guitar, and Washington’s contrasting double bass in precise pizzicato. The closer, “Little Falls” begins with by now what feels like a signature-like Snidero head that melts away for a series of warm declarations from Snidero and Rosenwinkel, that transport us to the outer reaches in keeping with so many others like these on this euphoric, remarkably smooth journey.
Although very satisfying in many aspects, especially the ballads, there are no hard edges. Perhaps a few of those would put the icing on this fine effort but on the other hand, that’s not what Snidero was after. He wanted to join in the flight with Rosenwinkel and hits a home run on that score.
