Nasheet Waits:                     New York Love Letter (Bittersweet)

GIANT STEP ARTS 14. (RECORDED MAY 2021 & MARCH 2022)

Based on the cover of New York Love Letter (Bittersweet), you might expect drummer Nasheet Waits’ new release to be a bit moody and mysterious. Quite the contrary. Other than the original “Moonchild,” the remaining five tracks on this recording are much more outgoing and carefree. Waits, along with saxophonist Mark Turner, vibraphonist Steve Nelson and bassist Rashaan Carter, cover a lot of musical ground on this live recording (some recorded at Hunter College and some recorded at Seneca Village in Central Park). That ground includes Jason Moran’s “Snake Stance,” Andrew Hill’s “Snake Hip Waltz” and two John Coltrane tunes — “Liberia” and “Central Park West.” The unique instrumentation of vibes, sax, bass and a drummer (a change from Waits’ earler two records that featured a piano, sax, bass, drum lineup) is ideal for these tunes. 
Equally impressive is the suite-like “The Hard Way AW,” a tune dedicated to the erroneous conviction of the Central Park Five. New York Love Letter (Bittersweet) is Wait’s musical memoir of growing up in New York City, becoming part of the jazz scene and surviving the pandemic. Without question, it is his strongest date as a leader to date. The choice of tunes will hold your interest.  The ensemble and solo playing of the quartet will keep you listening.  Waits leadership and sublime drumming will impress you from the first note to the last. Now if they could only get a capture the music on this session with a cover photo that says all that!

BOTTOM LINE:  Drummer Nasheet Waits navigates his quartet through the twists and turns of Andrew Hill and Jason Moran tunes. He guides them through the ebb and flow of Coltrane tunes. He steers them through moody to episodic original compositions. New York Love Letter (Bittersweet) is quite the ride for both performers and listeners.

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Welcome to Papatamus Redux

I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.