Jim Snidero

Bird Feathers

Savant

In late adolescence and early college years is when I first started listening to jazz. One of my lasting memories was a dinner party thrown by my college English teacher, with the sounds of Charlie Parker wafting through his home.  Bird’s lyricism, tone, and phrasing were captivating to say the least. Alto saxophonist Jim Snidero had similar impressions when diving into Bird’s music even as he approached it from a musician’s point of view. We are certainly not alone. Anyone who spends time listening to Bird comes away with some level of fascination. Snidero spent a few years focused entirely on Bird’s music and now presents, to mark his 40^th year as a leader, a finely honed tribute to Parker in Bird Feathers. Snidero is as well qualified as any altoist, as he’s ranked in the top five in the DownBeat 2024 Critics Poll.  Just as he did in 2024’s For All We Know, which we covered on these pages, Snidero fronts a chordless trio with in-demand bassist Peter Washington and ‘time to swing’ drummer, Joe Farnsworth. On that outing they covered standards and here it’s exclusively Parker, either tunes composed or long associated with him. This is a courageous undertaking that would be intimidating to most, but, as we mentioned, Snidero has done plenty of ‘homework.’

Parker’s “Bird Feathers,” the title track opens in a half-time feel before Farnsworth steers it into a swinging (Farnsworth and swinging are synonymous) four-beat rhythm. At its core the tune is a 12-bar blues but malleable enough to render it this way as both Washington and Farnsworth contribute individual turns as well. A gem from Parker’s legendary 1947 Dial sessions is “Scrapple From the Apple,” one that’s been covered often, notably the tenorist Dexter Gordon. In this reading Snidero and Washington take the melody in unison. Snidero improvises, taking some chances as he weaves through the chord progressions before engaging in a feisty dialogue with Farnsworth, who just puts in down without much interest in showboating or histrionics. Washington adds the exclamation point with the final note. Parker’s reading of the ballad “These Foolish Things” is Snidero’s favorite and one can hear that affection in Snidero’s superbly lyrical treatment, where he seemingly touches every key on his horn in his liquid flowing lines, riding a vigorous tempo generated by the engine room.

“Ornithology” is one of the most common pieces associated with Parker and it was inducted into the Grammy Hall of Fame in 1989.  It’s really a contrafact of “How High the Moon” and the trio embraces it with a bluesy hue, spurred on by Farnsworth dynamic kit work and an impressive solo from Washington.  While Bird was known for uplifting, joyous fare, Snidero stays mostly there too but takes a slight detour on The Gershwins’ “Embraceable You.” The original paired Parker with Miles, but this trio purposely applies a slow burning tempo and mostly subtle accompaniment which frames Snidero’s melodic lines beautifully. They are on similar ground on “The Nearness of You,” where the listener clearly hears every nuance in Snidero’s deeply emotive treatment.

“Charlie’s Wig” is a more obscure piece, with Washington and Snidero also playing the melody in unison, before the bassist delivers his own declarative statement in this one that has more bebop strains than some of the others. “Confirmation,” of  course, is another Parker staple but the liner notes indicate that the definitive version didn’t emerge until a few years before his far-too-soon passing. It’s a challenge to navigate but trusty Farnsworth  teams with Snidero to keep it moving. Washington steps in to give it a brief respite until the trio gives their all in taking it to a rousing finale. While there were sequences in the two ballads where Snidero was practically unaccompanied, he proceeds that way in the closing “Lover Man,” which he previously recorded with an organ combo on 2007’s Tippin’ (Savant). As those last few notes end rather abruptly, as if someone just closed a window, it leaves the listener startled and anxious to hear more.

It’s hard to imagine that any serious jazz fan has not heard Parker. If that’s the case, this should push them in that direction and may even do so for the well-versed.   If there were any lingering doubts about Snidero’s standing among alto players, this convincing statement should secure his place among the very best.

– Jim Hynes

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