Javon Jackson, Déjà Vu

In the 1990s Javon Jackson's profile was at its height with releases on Blue Note such as When the Time Is Right, For One Who Knows and Good People. Here on Déjà Vu he sounds every bit the master that the Carthage, Missouri-born 55-year-old has long since become. And these days his approach is even more imbued with wisdom on a good selection of not always over-familiar but definitely classic material served up here than ever. Released on his own label this picks up from For You released two years ago and is a quartet affair with pianist Jeremy Manasia, beautifully introducing Jackson on 'Autumn in New York,' bassist David Williams springy and stylish throughout and drummer McClenty Hunter sliding us into 'Limehouse Blues' in one of his big moments.

Jackson has a really believable sound that stems from his immersion in the Art Blakey universe as a young man when he was in the Jazz Messengers towards the end of Blakey's life. Jackson's version of Cedar Walton's 'Martha's Prize' certainly catches lightning in a bottle. There's a lot to savour here and I'll be lingering long over the tenorist's take on Wayne Shorter's 'Venus di Mildew' especially. Consider yourself very lucky indeed when you sit down to listen to this very fine album. Sit down? You might well be on your feet. On Solid Jackson

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I'm torn gathering my thoughts about this record. On the one hand how could you not be impressed by the sheer feat of one musician playing not only piano, keyboards, electric and acoustic guitars and bass guitar but also drums, clarinet, bass clarinet, flute, alto flute, percussion, throwing in a bunch of samples, and of course blowing saxophone.

On the other beyond the often lush melodies and occasionally but not always unerringly fascinating runs it's hard to engage with There is a Tide at a deeper level. In other words the sheer dynamism you usually get on a Potter record when he's leading his own bands just isn't the same. The cushiony sound feel (we have heard a lot of similar audio quality this year during Lockdown) doesn't help.

One of the world's greatest saxophonists it's probably just that I want to hear him play tenor saxophone exclusively in a more usual situation and wait until things are more normal again and leave it at that. Sometimes less is more. Definitely the robust lead sax line on 'New Life (In the Wake of Devastation)' is more in line with that desire. All in all a record that's easy to admire, harder to love. SG

On Edition

Javon Jackson, Déjà Vu

Chris Potter, There is a Tide