I could say that I think saxophone and flute specialist Bob Sheppard has the goods, but it might be more meaningful to point out that so did Chick Corea, Freddie Hubbard, Randy Brecker, Dianne Reeves, Kurt Elling, Horace Silver, Nat Adderley, Rickie Lee Jones and James Taylor. All of them had had various times called on him to play in their bands. Sheppard first got my attention in the mid-90s appearing on Walter Becker’s Eleven Tracks of Whack in ’94 and Steely Dan’s tour document Alive In America the following year. You probably know what I’m going to say next: if Bob Sheppard is good enough for Becker/Steely Dan…
But Sheppard’s noteworthy association with jazz snob rock stars isn’t what makes The Fine Line (Challenge Records) worthy of your attention among a sea of mainstream jazz recordings. It’s the culmination of that rich experience that’s distilled in these fifty-five minutes of splendidly performed music.
So, Bob Sheppard builds a strong base unit with that tried-and-true base quartet configuration that includes John Beasley (piano), Kendrick Scott (drums) and Jasper Somsen (bass, co-producer), but half of these ten tracks are supplemented by guest additions, mostly on the front end of the album. For “Edge Of Trouble,” we rightlaway hear Simon Moullier’s electrified vibes, sharing lead lines with Sheppard on a crisp, bop tune original that features the leader on a smokin’ soprano sax trading searing solos with Moullier.
Another twist is introduced on “Run Amok” with the slinky electric bass lines of Benjamin Shepherd that help fashion this song into something resembling the Brecker Brothers, further reinforced by the presence of Mike Cottone’s muted trumpet alongside Sheppard. The contemporary vibe continues onto “The Fine Line,” though with a Brazilian undercurrent, and Sheppard’s soulful tenor recalls that of the sax playing half of the Brecker Brothers, Michael. Moullier returns for “Maria’s Tango,” touching upon another Latin style with a light touch and with taste.
“People Make The World Go ‘Round” is one of the great Philly soul songs of the early 70s, and Bob Sheppard reharmonizes it in clever ways that doesn’t disguise the underlying brilliant melody.
“I Didn’t Know What Time It Was” is a more obvious choice for a jazz cover, but Sheppard with the base quartet breezily waltzes through it. The foursome get down to post-bop business for Somsen’s “Above & Beyond” — Sheppard returning to his soprano sax for this one — capped off by Scott’s dominant rumbles on drums.
But to hear Bob Sheppard at his best on the tenor saxophone, you have to go toward the backside of the album where he’s mining the ol’ standards fakebook for fresh takes on old songs. He strips “Thanks For The Memory” down to its sentimental core, even starting the song as a piano-less trio. But even after Beasley enters, the song hinges entirely on Sheppard’s tenor, and he leaves proof he has the wherewithal to carry the entire tune’s character through his reed. For Billy Strayhorn’s “A Flower Is A Lovesome Thing” Sheppard again doesn’t lean too heavily on his band to carry the tune, he’s doing most of the heavy lifting using a measured tone and an accomplished delivery.
The Fine Line, now available for sale, leaves you wondering why the wider public hadn’t picked up on what all the insiders have known for years: Bob Sheppard is a top-shelf jazz musician, arranger and composer.
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