Jim Snidero: Far Far Away

Far Far Away brings us ever so close to the genius of Jim Snidero. An incandescent affair built upon the pillars of new partnership and continuing collaboration, it showcases a marked consistency in craftsmanship and inventiveness that leaves no doubt as to this artist's place in the jazz firmament. Of course, seasoned listeners need no reminders about his elevated status. The vaunted alto saxophonist has been delivering dynamic performances as a leader on record for the better part of four decades, winning critics over and gaining plenty of fans with that work. Snidero's Blue Afternoon (Criss Cross, 1989) was rightly tagged as a modern classic through its inclusion in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums; he turned plenty of heads playing atop his own arresting orchestral arrangements on Strings (Miles-tone, 2003/Savant, 2021), which received the highest "Le Choc" review from Jazz Magazine (France) and saw the music and its creator cited as "belonging to a very exclusive club (Fischer, Ogerman, Sauter) of great successes in the genre"; and at the height of the COVID-19 pandemic, when gigging opportunities were risky and scarce, he found a way and triumphed with Live at the Deer Head Inn (Savant, 2021), earning serious admiration and a rare 5-star review in DownBeat Magazine.

Those offerings demonstrate an extraordinary level of artistic achievement over wide spans, as Snidero successfully charted his way through vastly different territories in his thirties, mid-forties and sixties. And with many dates in his enviable discography branching out into other areas—a celebration of the organ combo on Tippin' (Savant, 2007), a look at modernistic flow in Stream of Consciousness (Savant, 2013), an intrepid immersion in Korean culture for Project-K (Savant, 2020)—those highlights provide just a mere glimpse of his capabilities when in command. The portrait of Snidero truly broadens with every single entry in his catalog, and that obviously includes this landmark 25th recording.

On Far Far Away, legend meets legend for an incredible journey to the outer limits. Returning to the studio after his triumphs on the stage, the renowned altoist joins forces with inimitable guitar hero Kurt Rosenwinkel. It's a pairing that's as unlikely as it is intriguing, opening the doors of possibility for the saxophonist: "For me, Kurt is one of the great jazz figures of the 21st century. His concept of sound and phrasing are so original and compelling, yet his playing is firmly grounded in the tradition. Achieving that combination is no small feat. There's just so much there that I wanted to take advantage of as a composer."

Opting to write new material tailored to Rosenwinkel's cut, Snidero eyes the horizon and what lies beyond. And in bringing back the ace rhythm section from Live at the Deer Head Inn—forward-thinking pianist Orrin Evans, in-demand bassist Peter Washington and sterling drummer Joe Farnsworth—he acknowledges a winning combination of musicians while refocusing their efforts: "The live record was really all about the moment—'A token of hope, a prayer for the return of live gigs,' as London Jazz News so eloquently put it. It was just getting up there, relaxing and playing tunes that would hopefully bring some joy to folks during some difficult times. With the addition of Kurt, and the focus on originals now, this album is really quite different."

Illustrating that truth right out of the gate, Snidero sets a course to the stars for the title track. The first of many pieces to capitalize on Rosenwinkel's signature sonics, it spotlights both frontline members as euphoric soloists, highlights some significant chemistry in their matchup, and provides additional space for Evans and Farnsworth to shine. Dialing things back for the follow-up—the cobalt-shaded "Infinity"—the quintet plays toward straight-time seduction as it crests waves of its own creation. Reflecting the very nature of the Snidero-and-Rosenwinkel partnership, those opening numbers offer contrast while proving complementary. Switching gears with a subtly reharmonized look at Rodgers and Hammerstein's "It Might as Well Be Spring," the leader delights in the opportunity to bare his soul on one of his favorite ballads. The album's lone dip into the Great American Songbook, and one of the finest examples of Snidero's sound on record, it proves to be a model of class and sensitivity.

Returning to the realm of originals, the saxophonist delivers three consecutive winners from as many angles. The bounding "Nowhere to Hide," ripe with harmonic tension and conflicting extensions, brings piquancy to the center of the picture as Snidero's pointed lead, Rosenwinkel's liquid heat and Evans' down-the-middle designs each make strong impressions. Then "Obsession" arrives, taking shape around a simmering funk feel and serving as the only one of its kind on the playlist. Dynamic comping and interplay on the rhythm side help to create arched expressions within its well-constructed framework, ultimately supporting and encouraging those at the fore. Closing this trifecta of new compositions with "Pat"—a blues-based gem tapping into the spirit of the legendary Pat Martino—everybody takes a moment to give due respect to a dearly departed jazz guitar icon and his enduring influence.

Adopting a reflective stance in the penultimate presentation, Snidero looks to the late McCoy Tyner's ever-relevant "Search for Peace." A breathtaking ballad that gives pause to admire both music and message, it's a perfect vehicle to accentuate the leader's tender side, Rosenwinkel's singing strings and Washington's purposeful pizzicato. Then it's back to new wonders with "Little Falls," a swinging sendoff that's right in everybody's wheelhouse. Washington's walking lines and Farnsworth's ride cymbal lay the groundwork as the group's core soloists captivate through the beauty of their ideas. Demonstrating clear direction, this exit piece, much like everything preceding it, speaks to Snidero's great attention to detail with this project: "I spent quite a bit of time thinking about the band's sound while writing—how to layer certain elements such as timbre, harmony and range, to both blend and (sometimes) conflict, creating more depth. It's about putting it all together while being musical and projecting warmth. That's what I value most of all." Not surprisingly, that comes through in the wondrous mix on Far Far Away.

Liner Notes copyright © 2024 Dan Bilawsky.

Far Far Away can be purchased here.

Contact Dan Bilawsky at All About Jazz.
Dan is a jazz journalist, jazz advocate, music educator, and lover of sounds.

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