Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Caroline Davis: Heart Tonic (Sunnyside)

Review of album by innovative alto saxophonist from Chicago

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Cover of Caroline Davis album Heart Tonic on Sunnyside
Cover of Caroline Davis album Heart Tonic on Sunnyside

Heart Tonic opens like a Jefferson Airplane or Soft Machine record—with long, eerie, psychedelic organ tones. It ends like West African funk, with a slippery bass leading interlocked 9/4 rhythms. Between these brackets is knotty, complex postbop that doesn’t sit still long enough to be described less broadly. Fortunately for alto saxophonist Caroline Davis, her music is even better than it is audacious.

The aforementioned organ freakout (courtesy of Julian Shore) at the beginning of “Footloose and Fancy Free” lasts 11 seconds before the eight-minute tune completely changes the subject, shunting into an anxiety- and Rhodes-driven convolution that Davis and trumpeter Marquis Hill navigate steadily. Tension further mounts on “Constructs,” a long piece that changes tempo, key and character often and suddenly; Davis and Hill’s shared combination of warmth and daredevilry is its through line. Davis in particular has such a warm, rich alto tone that it often sounds like a tenor being played in its upper register, as on the album’s lovely highlight “Fortune.” The track also features a long, sublime upright solo from Tamir Shmerling and excellent organ work by Benjamin Hoffman, who adds subtle color behind Shore’s supple piano. Drummer Jay Sawyer gets a thunderous turn on “…TuneFor,” a coda to “Fortune” based on one of its motifs.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published