This recording, Grover Washington Jr.’s final one before his death last December, is in the tradition of the classic Miles Davis/Gil Evans Porgy and Bess album. Arranger Robert Freedman selected 12 popular arias and, drawing on his obviously deep knowledge of both opera and jazz, devised versions that are faithful to the spirit of the music while providing fertile ground for Washington’s imaginative explorations. Washington alternates between soprano, tenor, alto, and baritone saxophone, each according to the mood of the piece. Most of the arias are played as written (though not always in the original key) before the improvisations begin. Make no mistake, this is a jazz album, but the kind of mellow jazz that creates the perfect mood for a romantic dinner, or calms the nerves after a hard day.
And yet, serious listeners can enjoy it simply for its musical values. Freedman occasionally includes supporting music from the original operas–“E lucevan le stelle” (Tosca) incorporates “Qual’occhio al mondo” as a bridge passage–making these more than just good sax tunes. But then again, the pieces work because they’re based on great tunes, and because the original arias continue to be universally loved (a fact that seems to have been forgotten at the conservatory). The best numbers, from a jazz point of view, are “Pourquoi me reveiller?” from Werther (beautifully done on tenor sax), “Je crois entendre encore” from The Pearl Fishers, and “My Man’s Gone Now” from Porgy and Bess.
Some of the Puccini selections (for instance, “Donna non vidi mai” from Manon Lescaut) are so melodically expansive and have such sophisticated built-in variations that there’s little left for Washington to do but let his talented sidemen have the spotlight before he reprises the tune. However, this does not in any way detract from the disc’s enjoyment value. The sound is luxuriously atmospheric. Recommended for those who aren’t afraid to loosen up a little.
