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

Walt Weiskopf: Open Road

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.

If you love a top-notch tenor saxophonist playing at full throttle, Open Road will make you giddy. A stalwart veteran in his mid-50s, Walt Weiskopf does not have the notoriety his combustible talent deserves. He started as an adjunct, toiling in large ensembles for Buddy Rich and Toshiko Akiyoshi and playing behind Frank Sinatra and Steely Dan. After a couple of discs with his pianist brother Joel, he released a spirited string of records for Criss Cross, but they weren’t really lean and mean-a couple were nonets, others had fragrant stylists like pianist Brad Mehldau and organist Larry Goldings-until See the Pyramid put him with a rhythm section featuring pianist Peter Zak in 2010. Open Road repeats that formula to glorious effect, with Zak, drummer Steve Fidyk and bassist Mike Karn buckled in for a thrill ride.

Weiskopf uses just the right elements from the very best role models to inform his style, meshing the kinetic modulations of John Coltrane with the lyrical imagination and tonal daredevilry of Sonny Rollins. The dozen songs on Open Road alternate between untethered hard-bop burners (the odd-numbered tracks) and more gently rambunctious (even-numbered) tunes. These more reflective yet still feisty songs include two covers (Jimmy Van Heusen’s “Nancy [With the Laughing Face]” and the ballad “Angel Eyes”), tributes to Weiskopf’s wife (“Let’s Spend the Day Together”) and son (“Tricycle”), and a filtering of “Autumn Leaves” through Walt Whitman (“Leaves of Grass”).

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