James Zollar, The Ways In Review

James Zollar’s latest release, The Ways In, offers a deeply musical and historical exploration of jazz. With roots in Kansas City and a career shaped by New York’s vibrant jazz scene, Zollar uses this album as a canvas to express his connection to the great jazz cities and musicians who influenced him. His trumpet, often painting lyrical and emotional landscapes, guides us through a ten-song journey that reflects decades of experiences, collaborations, and musical evolution.

The ensemble assembled for The Ways In reflects Zollar’s connections within the jazz world. Alongside Zollar’s commanding presence on trumpet and flugelhorn, trombonist Michael Rorby brings a rich, brassy counterpoint, while Stefano Doglioni’s bass clarinet adds a velvety depth to the arrangements. The rhythm section is anchored by the ever-reliable Gerald Cannon on bass and Willie Jones III on drums, with David Hazeltine delivering subtle and electrifying moments on piano and Fender Rhodes. Special guests further elevate the project, including trumpeter Jeremy Pelt, whose fiery soloing on “Reflectory” is a dynamic contrast to Zollar’s lyrical trumpet lines. Nabuko Kiryu’s vocals lend an emotional texture to several tracks, while Jennifer Vincent’s cello and Riza Printup’s harp on “The Single Pedal of a Rose” contribute to the lush, orchestral feel. Together, this ensemble brings Zollar’s vision to life, blending tradition with innovation across the album’s rich sonic landscape.

The album opens with “The Fruit,” dedicated to the great Barry Harris. Zollar and trombonist Michael Rorby’s arrangement has sounds that pay tribute and an energy that is a declaration of purpose, setting the stage for an album. Zollar’s trumpet lines are emotive yet precise, speaking the language of bebop while maintaining a modern sensibility.

Tracks like “Peace/Blue Silver” merge the compositions of Horace Silver and Blue Mitchell, arranged by Slide Hampton. The interplay between Zollar’s trumpet and Nabuko Kiryu’s vocals creates a swinging and engaging dialogue, a nod to Zollar’s familial roots, as the piece is dedicated to his brother, Al Zollar. Kiryu’s scatting brings an infectious energy, while Zollar’s trumpet lines remain harmonically clear and conversational, drawing the listener into a familial warmth and joy that permeates the recording.

“Reflectory,” a Pepper Adams composition, allows Zollar to stretch out alongside Jeremy Pelt, whose guest appearance adds a contrasting but complementary tone to Zollar’s phrasing. The trumpeters navigate through harmonic territory with the melodic direction. The dialogue between these two trumpet masters is based on the lineage of jazz, with each note’s phrasing and rhythmic flow paying tribute to those who came before while forging new paths forward.

One of the more emotionally resonant tracks is “The Single Pedal of a Rose,” dedicated to Queen Elizabeth II and saxophonist Joe Temperley. Here, the arrangement by Zollar and Rorby leans into orchestral textures, with Vincent’s cello and Printup’s harp creating a lush, cinematic backdrop. Zollar’s flügelhorn is tender and reflective; this piece encapsulates Zollar’s ability to balance grandeur with intimacy.

“Do Nothing ‘Till You Hear From Me,” a Duke Ellington classic, is Zollar dedicating the performance to Cootie Williams and Barrie Lee Hall. The track captures Zollar’s command of the melodic and rhythmic style of Ellingtonian sound, where swing and soul coexist effortlessly. Performed as a duet with Hazeltine, this intimate selection grooves with an infectious energy as Zollar’s trumpet injects playful, yet authoritative phrasing. It’s clear that Zollar is at home in this material, embodying the legacy of the Ellington era while giving it his own personal spin.

On “Swing Spring,” a Miles Davis composition, Zollar’s arrangement offers a jubilant celebration of Latin rhythms and expressions. Corniel’s percussion adds a layer of vibrancy, while Hazeltine’s Fender Rhodes brings a touch of modernity to the performance. The interplay between Zollar’s trumpet and Doglioni’s bass clarinet creates a textured soundscape that builds energy, as if the music is dancing on air.

As the album progresses, Zollar continues to showcase his versatility. “Pat,” composed by Nabuko Kiryu, is a delicate dedication to Zollar’s sister. Here, Zollar’s flügelhorn conveys the melody with his tone warm and tender, perfectly matched by Kiryu’s vocal harmonies. This performance is an example of the familial love that is woven throughout the album, making the listener feel as though they are part of Zollar’s musical family.

The Ways In offers a rich jazz listening experience. Zollar’s trumpet playing is deeply rooted in tradition, yet his arrangements and collaborations with musicians like Michael Rorby, Nabuko Kiryu, and Jeremy Pelt bring a contemporary edge to the project. This album reflects Zollar’s first-rate musicianship and an invitation to explore the countless “ways in” to jazz and its infinite possibilities.