Jim Snidero Continues to Raise His Stature with "For All We Know"

Jin Snidero: For All We Know: Savant SCD 2215

Album by album, the alto saxophonist Jim Snidero has raised his stature as one of the most esteemed alto saxophonists in the world of improvisational music. The Maryland-raised musician's career started when he attended the prestigious Unversity of North Texas College of Music, a school that produced noted alumni like bassist Marc Johnson, keyboard artist Lyle Mays, and multi-reed master Jimmy Giuffre to name just a few. 

The saxophonist became a member of their esteemed One O'Clock Lab Band from 1980-81. Along with his formal education, Snidero found time to take lessons from saxophone masters like Dave Liebman and Phil Woods. Pursuing his career as a professional musician, Snidero, at the age of 23, made his way to NYC in 1981. To hone his skills, he found sideman work in the organ-centered band of noted B3 artist Brother Jack McDuff from 1981-82, and in 1984 recorded with McDuff.  He later joined saxophonist/flutist Frank Wess' group in 1985. As a valued section man, Snidero found work with Toshiko Akiyoshi's Jazz Orchestra (1985, '86,'96, and 2004); Trumpeter Brian Lynch's groups in 1986, 1991, 2019, and 2021); Eddie Palmeri's Band in 1994  Frank Sinatra's touring band in support of Sinatra's album Duets 2 in 1994; and saxophonist Walt Weiskopf's Nonet 1995 and '99 to name just a few. 

Off of the stage, Snidero is an educator as a faculty member at the New School in New York and a visiting professor at Indiana University and Princeton. He has also written a well-respected series of musical instruction books on Bebop, Blues, and Jazz Conceptions. Jim Snidero's alto saxophone sounds like an amalgam of influences that is all his own but has elements of Lee Konitz, Cannonball Adderley, Paul Desmond, and Phil Woods.

Jim Snidero recorded his first album as a leader On Time back in 1984 on the EMI label. He has since released twenty-seven albums as a leader, the last thirteen on Barney Fields' Savant Record label. In February of this year, Snidero released his latest album For All We Know. The album follows three well-received Savant albums that paired Snidero with some jazz elite sidemen. In 2020, Project K  united Snidero with trumpeter Dave Douglas, bassist Linda May Oh, pianist Orrin Evan, and drummer Rudy Royston. Jim Snidero Live at the Deer Head Inn, came out in 2020 and found Jim and progressive pianist Orrin Evans pushing each other to new heights. This time, these two were rhythmically anchored by the team of the superb bassist Peter Washington and stalwart drummer Joe Farnsworth. In his continuing search to spur his own creative boundaries, Snidero's last album Far Far Away, matched the altoist with a different foil.  Retaining the intuitive rhythm section of the last album, he matched musical wits with the enigmatic guitarist Kurt Rosenwinkel to great effect.

Released in February of this year, For All We Know breaks the mold. On the never-ending quest to improve one's creative advancement, some things stay the same and some things inevitably change. Snidero's quest led him to accept the next step in his development as a player. He would play without a net. He would wisely reprise his intuitive rhythm section of Washington and Farnsworth, but he would for the first time make an album where his alto was the sole melodic instrument. Where the structure of the melody wasn't safely maintained by the presence of a chordal instrument. The album has a selection of eight exceptionally savvy standards. Familiar melodies that allow his audience to connect. Songs that are rendered in an enticing, soulful,  and communicative way. As an artist, Snidero's alto has a beautifully lush sound. To hear him interact with Washington's empathetic bass and Farnsworth's insightful trap work, one can hear just how congenial and interconnected these guys operate as a single unit.

The title cut "For All We Know" opens the album with a slow saunter led by Washington's buoyant bass, Snidero's mellifluous alto, and Farnsworth's judicious snare. Snidero carries the melody with a depth and flow that navigates the changes with aplomb and sensitivity. As if his solo alto isn't exposed enough like a lone wolf out in the wild, at the six-minute mark, Jim offers a deeply personal and moving solo cadenza to finish this one off with confidence and beauty. 

John Coltrane's classic ballad to his wife, "Naima," is opened by Washington's resonant bass entre. There is little room for recreating this song in such a way that can replace the original, but Jim's alto enters playing the moving melody with reverence, his trademark tonal warmth, and a personal commitment to making it into his own vision. When this trio recreates this one, it shows that great songs in the hands of the right artists can always be reinvigorated and made surprisingly fresh. Bravo!

Cole Porter's "Love for Sale," made famous by Billie Holiday's languishing version, is given an upbeat treatment. Snidero's alto swings, Washington's vibrant bass carries the walk with authority, and Farnsworth is given a chance to demonstrate percussive acuity. Upbeat and on point.

A surprising addition to the repertoire is Alec Wilder's  "Blackberry Winter." This moving ballad is sadly not heard often in jazz sets. The melody allows Snidero  and Washington to do the heavy lifting here.  Washington's burnished bottom solo is the perfect vehicle to expand on this folksy feeling. Snidero provides a sinewy alto solo that navigates the theme with warmth and feeling.

"Parker's Mood" is a slow blues that has Snidero alto taking on a Cannonball-like feel. There is dexterity to this trio, a fluidity, and a soulful vibe that emanates with inventiveness. When they are playing there is a sense of intimacy that they generate. It's like seeing them playing just for you.

Classics like A. Ronell's "Willow Weep for Me," given a quick tempo, and Rogers and Hart's "My Funny Valentine" given an evocatively slow treatment, are each given their place as vehicles of invention. In both cases, the particularly telepathic interaction between Washington and Snidero, and Farnsworth's instinctive subtly, is what makes these such an enjoyable listen.

The superb set ends with another J. Coots tune "You Go To My Way" made famous by vocalists like Billie Holiday, Sarah Vaughan with Count Basie's Orchestra and Frank Sinatra and even instrumental versions by Miles Davis, Dave Brubeck and Paul Desmond and Bill Evans. The trio offers this version that has Snidero's alto spelling out the melody line in a jaunty, almost Desmond-like style. The notes just drip out of the bell of his saxophone like succulent drops of ambrosia. Washington and Farnsworth generously offer the perfect support, a fragrant unobtrusive rhythmic bouquet that graces the set. Snidero doesn't waste the opportunity. He  embellishes this memorable melody with style, grace, and aplomb. For All We Know is the kind of album one should just sit back, listen to and enjoy for its pure artistry.