Survival of the Fittest

The laconic Japanese adage "Fall seven times, stand up eight" underpins a subtext behind the title of Jordan VanHemert's fifth leader date, Survival of the Fittest. A hearty, adept, good-humored tenor saxophonist, the 30ish Korean-born Michigander here re-assembles, with trombonist-producer Michael Dease, the sextet of their slightly elder peers that, in last year's Deep In The Soil (Topic), first examined the resilience, self-reliance and uplifting sustenance we may all find in music. The veterans reunite genially: Helen Sung (piano), Rodney Whitaker (bass) and Lewis Nash (drums), with lively spots for Terell Stafford (trumpet, flugelhorn). The studio vibe is cheerful and focused and the positive, firmly pro-bop outcome assured between a relaxed, confident opener "Here and now" and the rousing title closer, with all flags flying. VanHemert, director of jazz studies at northeastern State university in Tahlequah, OK, writes often in active response to emotional reactions. He sublimates outrage at racist-fueled murder with an elegiac ballad that Stafford fills with a yearning sweetness. He assuages the sting of scapegoating with a defiant swinger. VanHemert also pens an affectionate tribute to a jazz great, and a wide-eyed contemplation of the moon. But the date reaches well beyond originals. "Milyang Arirang" revisits an historic, tragic Korean folk-tune as a frankly cheerful waltz; "Mo's Blues", a Basie-style jammer composed by one of Dease's precocious students, drummer Wyatt Harris, elicits rousing choruses from all hands. Among central duologues that afford welcome textural interludes for the leader's cheerful playing with rhythm team members, two draw on hope imbued anthems: Duke Ellington's "Come Sunday" is a searching prayer-meet with the orotund Whitaker, while Sigmund Romberg's "Softly, as in a Morning Sunrise" ignites a roaring campfire of tenor and drums. Sung's limpid, glowing lyricism becalming "Sea of Tranquility", sets off VanHemert's mellow musings, surprising flourishes and a dreamy, rock-a-bye conclusion. A favorite track for saxophone and rhythm follows its wise counsel: "Tread Lightly" wherein Nash delivers a master class in brushwork artistry, his feathery filigree and "think-you-can-lick-it?" wit filling stop-time theme and solo breaks—a playful, wink-wink nod to the emblematic genius of Thad Jones.