Deep in the Soil Liner Notes

Born in Korea and raised in Michigan, Jordan VanHemert counts himself among those youngsters that got involved in his school music program by starting out on the alto saxophone. Also like many of his fellow saxophonists, VanHemert eventually moved away from the smaller horn to devote his full energies to the tenor sax, an instrument emblematic of the jazz heritage. "In my formative years, I was almost exclusively an alto saxophonist," VanHemert explained from his current home base in Oklahoma.

In looking at his previous four albums as a leader, the saxophonist is indeed heard predominantly on the larger horn, making this new effort somewhat of a unique affair. "I don't think a lot of saxophone players these days are doing both alto and tenor. Sonny Stitt was an exception and he clearly made a significant mark on both horns. Coltrane used to play alto back in his early Navy band days. So, for this project, I really wanted to revisit the alto and give it some love."

Far more than a way to discriminate one album from another, VanHemert's choice of Deep in the Soil importantly delineates the multiple meanings inherently suggested in the title. "This album represents a literal return to my roots as a saxophonist," VanHemert insists. "The first jazz performance I ever heard was Charlie Parker's recording of "Stella by Starlight" from 'Charlie Parker with Strings.' It made me fall in love with this music at a time in my life when I hadn't even chosen to play an instrument. There was something magnetic about it and I am really honoring that part of me who first heard Bird and was obsessed with that sound."

When further considering the analogy of a growing plant and the journey of a professional musician, it's obvious that the deeper the roots, the more stable and vibrant the end results will be. The point is not lost on VanHemert who says, "Getting in touch with your roots and those of the jazz tradition means digging down deep into that soil. I think it's really important to know where you came from as a musician. I am speaking specifically about the origins of the music and what came before you. Without any of that, none of us would even exist."

Integral to his efforts in getting back in touch with his musical past are singular musicians coming from a comparable perspective. As an educator, VanHemert has developed a network of talented colleagues predominantly from the Michigan area. Bassist Rodney Whitaker is a Detroit jazz legend and esteemed jazz instructor at Michigan State University. He first crossed paths with VanHemert when the saxophonist was teaching at Hope College. "The bass is such an important sound that also happens to be integral to my writing. I love the way that Rodney plays so naturally and his presence in the studio is also really special."

As for pianist Helen Sung, VanHemert presented her as a guest artist when he was on staff at Columbus State University of Georgia. A veteran of the New York scene since 1999, Sung is a technically gifted artist who is capable of speaking volumes in both the classical and jazz realms. "She is so inspiring because her creativity, energy, and technical velocity make her an incredible addition to any project," VanHemert states. "She hears everything and it's an incredible treat to play with her. Our working relationship has been a bit shorter than with the other folks on the album, but I hope it will be long lasting."

The catalyst for filling in the rest of the ensemble would be producer Michael Dease, a world-class trombonist and educator in his own right. "I asked Jordan if he could prioritize his approach and concept to me and he started talking about swinging, playing the blues, and telling his unique story through the institution of jazz music," Dease remembers."I said, 'Hell, yes!' and the rest was easy. This all-star dream of a band appeared at the mention of those powerful words and we had a beautiful experience in the studio building Jordan's 'house of soul,' brick by brick."

Firmly implanted in VanHemert's mind was the idea of a front line featuring alto and trumpet for a few of the tracks. "I had mentioned to Mike my love for the sound of Cannonball and Nat Adderley together on all those classic Riverside records. As a result, Mike suggested right away that Terell Stafford was the right person for the job. He goes all in every single time he plays, so that can't help but be inspired when you are in the studio with him."

"Bringing Lewis Nash onto the project was Mike and Rodney's idea. We were talking about drummers and we threw a couple of names back and forth. In the end, Lewis just seemed like the most logical choice," asserts VanHemert. "Не has this way of getting energy into the band and he's on 'Random Abstract,' which is one of my favorite Branford Marsalis records. I was really happy that Mike was able to get him on the gig because the drive that he provided was invaluable to what we were doing."

Kicking off a very diverse and exceptional program of tunes, "Call to Order" is a clarion plea to swing that is promptly answered by Stafford and Sung. When VanHemert enters, he sagaciously quotes the opening notes of Joe Henderson's "A Shade of Jade." Integral to this combustible platform, Nash offers a highly musical statement of his own. Composed by saxophonist Sharel Cassity and heard on her sophomore release, the piece has the kind of energy deemed fitting for opening the album. "In this contemporary era, we have so many great writers, and yet nobody really plays each other's tunes," VanHemert laments. "I really wanted to feature one of Sharel's tunes because she's one of the eminent alto saxophonists on the scene today."

Waxing nostalgic for the music of an artist whose career lasted some seven decades, VanHemert offers Jimmy Heath's "A Sound for Sore Ears." The clever number that mixes a backbeat feel with a swinging turnaround first debuted on The Heath Brothers' 1982 album 'Brotherly Love. VanHemert's alto tosses off quicksilver phrases before passing the torch to Stafford, who rolls out a bristling solo that casts radiant light on his impelling style. "Not only was Jimmy a titan of the tenor saxophone, but he was also a really incredible writer and I really wanted to pay homage to him with one of his tunes."

Making the scene at a time when jazz and rhythm and blues often shared some of the same gifted musicians, saxophonist David "Fathead" Newman first made a name for himself with Ray Charles before becoming a session musician with credits that included Aretha Franklin, Gregg Allman, and even Natalie Cole. VanHemert tips his hat to one of Newman's most iconic numbers, "Hard Times," with Michael Dease's trombone filling out the incendiary front line. Sung's rollicking piano rapidly sets the stage for some fervent sermonizing. "I know a lot of people have done that tune," VanHemert says, "but I wanted to hop into that conversation too because I feel like it's an alto player's rite of passage."

A lyrical and haunting ballad statement, "Everything Changes, Everything Stays the Same" is one of two of the saxophonist's originals. In terms of his approach on the alto, this is a key moment in appreciating VanHemert's many inspirations and multifaceted sound. It's one that embraces the swing legacy, but also bebop strains and the advancements of this current generation. "To me, a ballad seems very deep and personal; it's the definition of a soul of a musician," insists VanHemert. "I really wanted to write something that was similar to the tunes that I had grown up hearing my heroes play. I'm thinking of albums like John Coltrane's 'Ballads' and the Coltrane and Johnny Hartman album."

A celebrated performer known for composing some of the greatest songs of the past fifty years, Stevie Wonder's originals have been jazz fodder for scores of improvisers with a short list including Grant Green, Freddie Hubbard, Donald Brown, and Sullivan Fortner. VanHemert arranges his own take on "Superwoman (Where Were You When I Needed You)," swapping a backbeat groove for the original feel and featuring Whitaker's highly musical accompaniment and an alluring solo. "Growing up in Michigan, you can't help but be a Stevie fan," VanHemert claims. "It was pretty loaded for me to arrange one of his tunes because I admire him so much, but I tried to treat it with the utmost reverence as his music looms so large in my heart and mind."

A very important factor in assembling this album was the idea of varying the size of the instrumentation. As the saxophonist succinctly states, "The band shrinks, expands, and contracts throughout the record." An intimate duo performance, "Autumn Song" features just Sung and VanHemert in a provocative conversation that finds both artists using space and filigree to imaginative ends. "What makes autumn beautiful is that the trees are going dormant for the winter and essentially dying. I think there is something special about finding beauty in such things. It's somber and bittersweet and the intimacy of the duo really punctuates that feeling."

Nash animates the Messenger-esque melody of Dease's "ST in the House." It's all hands on deck for the solos and some final trading with the drums to wrap up a bracing romp. "In addition to his role as producer, it was great having Mike play with us and contribute a tune," VanHemert proudly states. "What he brought to the table as a producer was just outstanding." Speaking more specifically about the palpable energy in the performance, the saxophonist adds, "When you have musicians of that caliber throwing down on a tune, you can't help but feel excited by that atmosphere."

The closing "Blues for JT" is a Terell Stafford original that the trumpeter debuted on his 2007 live set recorded at the Dakota. It's all hands on deck for this send-off, with Nash cultivating the syncopative groove throughout. "The vibe is so infectious and Terell was generous enough to let us play it on this date," explains VanHemert. "It has an element of timelessness and the blues are so deeply embedded in everything that we do as jazz musicians. As a result, it seemed a fitting way to close the record."

Having attended the recording sessions for the album at hand, this writer can attest to the camaraderie and level of professionalism that helped make the results such a resolute success. Summing it all up, VanHemert enthuses, "This project is a little snapshot of where l'm at currently from a musical standpoint. Having a record under my belt with a lot of references to the tradition was really important to me and definitely speaks to that idea of the roots going deep."

-C. Andrew Hovan

C. Andrew Hovan is a jazz journalist, photographer, and drummer based in Northeast Ohio.  He is a regular contributor to Down Beat and allaboutjazz.com.