When an artist takes the stage at the hallowed ground of NYC’s Village Vanguard, the audience demands nothing less than their A-game. One of the premiere saxophonists of the past two decades, Chris Potter, brings just that with an elite quartet comprised of pianist Craig Taborn, bassist Scott Colley, and drummer Marcus Gilmore on Got the Keys to the Kingdom: Live at the Village Vanguard. This is Potter’s third live album at the storied venue but unlike the previous two which were mostly originals, this unique set, teems with gospel and blues tunes not often covered in the jazz idiom. It was recorded a year ago, during a multi-night residency in February 2022. These are all covers, also spanning two Brazilian folk tunes – “Nozani Na” and Jobim’s “Otha Maria.” Also included is the leadoff track, Mississippi Fred McDowell’s “You Gotta Move,” Billy Strayhorn’s “Blood Count,” Charlie Parker’s “Klactoveedsedstene,” and the traditional spiritual, the title track. Other than “Blood Count” and perhaps Parker’s tune, this writer recalls no other certified jazz artist tackling these tunes except perhaps the folk numbers.
Potter, who often plays a variety of reeds, sticks exclusively to his warm, emotive tenor for these selections stretching the opener to fourteen minutes and the closing title track at thirteen and half. As such, his extended intense soloing, reaching for all the keys on his horn, adheres to the long tradition of great tenors who have recorded live albums at the famed venue. Need we mention Sonny Rollings, John Coltrane, Joe Lovano, and Joshua Redman, among others? Dare we say, there are many moments when Potter and his quartet reach spiritual peaks, not unlike Coltrane’s Classic Quartet. While this may never attain that degree of iconic status, nor Rollins’ in terms of improvisation, some of Potter’s passages here defined by his consistent signature ostinato, may tempt such a conversation. Energy rarely slags. Colley drives his basslines and Taborn plays with boundless freedom while Gilmore pushes the envelope in his customary fashion.
As you’d expect Potter’s horn is deeply soulful, almost prayer-like in the opener as the band ignites a raging brushfire behind him, leading to imaginative crowd-pleasing solo turns from Taborn and Gilmore as well as a crisp climax. “Nozani Na” finds the leader searching in a different way, yet with lines marked with his trademark ostinato balanced with deep, emotive balladry. The mood, though updated, lies somewhere between Pharoah Sanders, Stan Getz, and Gato Barbieri, especially the latter two given Gilmore’s Latin rhythm tinges. Nonetheless, it still evokes a reverence or spirituality of a different kind. Even more so than Potter, Taborn seems bent on an extremely explorative journey here.
“Blood Count” represents the last piece penned by Billy Strayhorn, who wrote it for Duke Ellington, whilst in hospital suffering from cancer. Potter, not one to be easily intimidated, joins Stan Getz, Joe Henderson, and of course Johnny Hodges in recording this heartfelt ballad. We hear the restrained side of the quartet, with Taborn’s delicate touch especially shining through. This writer has never seen Parker’s “Klactoveedsedstene” on record, attesting to its rarity. Parker is obviously constructing a play on words, which for lack of a better explanation, simply connotes the kind of high energy associated with bebop. In that spirit, the band motors along, seemingly about to careen off the rails at times with Colley and Gilmore holding the locomotive on the tracks long enough for Gilmore to create another maelstrom on the kit and bring the tune to a rousing finale.
Until this point, Colley hasn’t been in the spotlight, but he takes his respectful turn with an intro to “Olha Maria,” penned by Jobin/Buarque/De Moraes, another that’s new to this writer. The tone here is reverential and measured in deference to the composer, but these musicians are too talented not to test the limits with free improvisation. Colley adds a beautiful touch with his arco technique at the end. Finally, the band lets loose on “Got the Keys to the Kingdom,” a traditional gospel tune performed by such artists as Josh White and Blind Willie Davis in the early part of the last century. Potter is at his fiery best, as is Taborn with a creative, glistening solo, not to be outdone by Gilmore’s fury, leading to a blistering climax.
If there’s a quibble, it’s a small one as too much space might be devoted to drum solos which are inherent in live performances vs. studio fare. However, lacking the visual component, these solos are less effective on record and the space may have been better devoted to full quartet performances. There were other selections to draw from, given the two-week residency. These solos though, are often so integral to the piece, making it difficult to do otherwise.
In any case, put this one alongside your favorite classics recorded at the Village Vanguard. It stands in line with them as Potter continues to evolve as one of the strongest saxophone voices of these times.
