{"id":8739,"date":"2017-10-18T23:09:42","date_gmt":"2017-10-19T06:09:42","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=8739"},"modified":"2017-10-19T22:18:00","modified_gmt":"2017-10-20T05:18:00","slug":"recent-listening-and-viewing-danny-janklow","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/10\/recent-listening-and-viewing-danny-janklow\/","title":{"rendered":"Recent Listening And Viewing: Danny Janklow"},"content":{"rendered":"

Danny Janklow<\/strong>, Elevation<\/a> (OutsideIn Music)<\/p>\n

Having made a splash in Los Angeles, the alto saxophonist Danny Janklow debuts on record as a leader showing confidence and depth of musicianship uncommon for a 28-year-old. Joined by the veteran pianists John Beasley and Eric Reed and a handful of impressive young contemporaries, Janklow\u00e2\u20ac\u2122s playing and writing are effective from beginning to nearly the end of his album. Reflecting his native California roots and his education at Philadelphia\u00e2\u20ac\u2122s Temple University, the lead track \u00e2\u20ac\u0153Philafornia\u00e2\u20ac\u009d has a sunny, skipping quality that is common to several of his pieces. Even the ominously titled \u00e2\u20ac\u0153Bad Reception\u00e2\u20ac\u009d moves happily through its complications of time and rhythm. It includes a piano solo that confirms Reed\u00e2\u20ac\u2122s admiration for McCoy Tyner.<\/p>\n

\"\"As for Janklow\u00e2\u20ac\u2122s style, searching out influences seems beside the point in light of the freshness of his improvising. Nonetheless, there are suggestions of Paul Desmond (including altissimo<\/em> high notes), Lee Konitz, Cannonball Adderley, John Coltrane and, in places, Miguel Zen\u00c3\u00b3n. His originality extends to repertoire. Janklow wrote all but two of the ten pieces. One of the outsider songs is Radiohead\u00e2\u20ac\u2122s massive 1990s hit \u00e2\u20ac\u0153Creep,\u00e2\u20ac\u009d introduced quietly by Janklow and bassist Ben Williams before it expands into intensity approaching that of Radiohead\u00e2\u20ac\u2122s own version, then subsides with close attention to the piece\u00e2\u20ac\u2122s inner possibilities, thanks in no small part to the harmonic ministrations of bassist Ben Williams\u00e2\u20ac\u2122 and pianist Beasley. \u00e2\u20ac\u0153Lolobai\u00e2\u20ac\u009d pairs Janklow\u00e2\u20ac\u2122s flute with Jesse Palter\u00e2\u20ac\u2122s clear soprano voice singing wordlessly. If it is indeed a lullaby, it has a degree of subtle tension that may not guarantee undisturbed sleep. Ms. Palter also sings Janklow\u00e2\u20ac\u2122s love song \u00e2\u20ac\u0153Hidden Treasure.\u00e2\u20ac\u0153 I must confess that I required several hearings to catch all of the words. The instrumental \u00e2\u20ac\u0153Calor Del Momento\u00e2\u20ac\u009d has Janklow\u00e2\u20ac\u2122s flute in a straightforward groove, and other solos en el spiritu Latino<\/em> by Reed and vibraharpist Nick Mancini.<\/p>\n

The concluding \u00e2\u20ac\u0153Serene State Of Love,\u00e2\u20ac\u009d is an attractive melody well sung by tenor Michael Mayo over a modified samba rhythm, with alto sax obbligato and a gliding solo by Janklow. The song deserves a better lyric than the clich\u00c3\u00a9d one that Janklow, or someone, gave it.<\/p>\n

Among Janklow\u00e2\u20ac\u2122s champions is Dick Oatts, a fellow alto saxophonist with a rich history that includes work with the Thad Jones-Mel Lewis Orchestra, Bob Brookmeyer, Red Rodney, Terrel Stafford, Fred Hersch, the Metropole Orchestra and the WDR Big Band, to name a few of his associations. When the mutual admirers appear together, there is no age gap. With them at the Blue Whale in Los Angeles in 2015 were Janklow\u00e2\u20ac\u2122s frequent collaborator John Beasley on piano, bassist Ben Shepherd, and drummer Dan Schnelle. Here, they play an Oatts blues in F that he calls \u00e2\u20ac\u0153Saddleback<\/p>\n

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