Leigh Pilzer’s Seven Pointed Star, Beatin’ the Odds Review
by Jeff Becker
As jazz listeners, swing is revered as the heartbeat of a golden era. It’s a style that conjures images of bustling dance floors, big band exuberance, and the rhythmic propulsion that defined the music of the 1930s and 1940s. This historical essence finds a contemporary echo in Leigh Pilzer’s latest release, Beatin’ the Odds, where the baritone saxophonist, composer, and arranger melds personal narrative with the timeless groove of swing.
Pilzer, a formidable force in the jazz world, is no stranger to the genre’s rich traditions. Her career, adorned with performances alongside the Smithsonian Jazz Masterworks Orchestra, The DIVA Jazz Orchestra, and the Bohemian Caverns Jazz Orchestra, speaks to a deep-seated reverence for the idiom. In Beatin’ the Odds, released on March 29, 2024, under Strange Woman Records, Pilzer harnesses the historical vitality of swing while imbuing it with her own poignant experiences.
Swing, characterized by its syncopated rhythms and lively, danceable melodies, became the soundtrack of an era marked by economic hardship and vibrant cultural dynamism. This backdrop is essential in understanding Pilzer’s work’s enduring appeal and emotional resonance. In Beatin’ the Odds, she captures the spirit of swing not merely as a stylistic choice but as a conduit for storytelling.
Pilzer’s ability to assemble and lead top-tier musicians shines throughout the album. Two distinct septets, with notable talents such as trumpeters Ally Haney Albrecht and Kenny Rittenhouse and alto saxophonists Mercedes Beckman and Tim Green, add rich textural layers to the compositions. Each musician is given space to shine, yet the ensemble unity remains paramount, a hallmark of effective swing orchestration.
The album’s opener, “SKCC,” serves as a prime example. A tribute to the Sidney Kimmel Cancer Center where Pilzer was treated, the track echoes Billy Strayhorn’s “Upper Manhattan Medical Group.” The homage is both titular and musical, weaving melodic and harmonic nods to Strayhorn’s work. This connection underscores a profound respect for the jazz tradition, seamlessly integrating personal history with the broader narrative of swing.
Pilzer’s journey through cancer and the COVID-19 pandemic forms the thematic backbone of the album. The first set of compositions, collectively referred to as the cancer suite, is deeply introspective yet vibrantly expressive. “Lin,” dedicated to her surgeon, Dr. Jeffrey Yen Lin, captures the delicate balance between foreboding and reassurance that Pilzer experienced during her diagnosis. The arrangement’s gentle yet dramatic qualities reflect the nuanced emotions of that period. Pilzer’s performance of the melody, along with Shook’s bass solo, is refined and focused on lyricism. Amy K. Bormet’s piano solo captures the energy of the piece with its expressive flow, while Pilzer’s baritone solo showcases her command of the horn’s range and emotive power.
“Waterkress,” named after her oncologist Dr. Bruce Kressel, employs a swinging melody that juxtaposes the gravity of its inspiration with a 1930s and 1940s styled arrangement. With its upbeat character, this track exemplifies how swing’s inherent vitality can convey complex emotional landscapes through its varied counterpoints and ensemble passages. Pilzer’s swinging solo continues to focus on this style of swing, with her rhythmic and melodic choices filled with all the characteristic sounds of the era.
The whimsicality of “The Platinum Taxi,” with its uneven beats mimicking the disorienting effects of a Benadryl drip, further showcases Pilzer’s mastery of using swing to narrate personal and universal stories. Ally Hany Albrecht’s trumpet, Mercedes Beckman’s alto saxophone, and Jen Krupa’s trombone join Pilzer to form an impressive horn frontline. Beckman’s solo is excellent, combining the style of the swing era with contemporary sounds and shapes. Sherrie Maricle’s responsive drumming converses with each soloing, creating varied textures and rhythmic topics.
The album’s second part transitions to the COVID-themed compositions, reflecting a collective experience of uncertainty and resilience. “And Then It Stopped” poignantly depicts the abrupt cessation of normalcy, with its ensemble hits and horn counterpoints capturing the energy and uncertainty following the jarring halt of everyday life. The piece’s structure mirrors the pandemic’s unpredictable trajectory, from sudden intensity to gradual fade. Joe Jackson’s soloing is impressive in its lyricism and development.
“Last Year, Lost Year” and “How Much Longer” delve into the temporal disorientation and prolonged anxiety of the pandemic era. The former’s floating harmonies and intertwining melodies evoke a sense of timeless drift, while the latter’s persistent rhythmic drive and unresolved ending encapsulate ongoing uncertainty. In “Where Will We Go?” Pilzer poses an open-ended question through a driving, rhythmic composition propelled by a stylish Latin vibe provided by Shook and drummer Frank Russo. The ensemble writing is excellent, with each section having its own personality while still keeping the theme of propelling listeners toward an undefined future, much like the unresolved promise of swing itself.
Beatin’ the Odds is a testament to Leigh Pilzer’s resilience and artistic vision. It bridges the historical significance of swing with contemporary personal narratives, creating a work that is both timeless and deeply relevant. Through this album, Pilzer not only honors the past but also contributes to the ongoing evolution of jazz, ensuring that the swinging pulse of yesteryear continues to resonate in today’s world.
For those who appreciate jazz’s historical roots and the innovative spirit of modern compositions, Beatin’ the Odds offers a compelling listening experience. Pilzer’s journey, underscored by the vibrant tradition of swing, invites us all to reflect on our own stories of resilience and the unifying power of jazz.
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