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If, by any chance, you had put Daniel Bennett into a box – theater music, smooth jazz, or any box for that matter – think again. “Critics know me as a composer,” says Bennett, who has been hailed as one of the most original and unpredictable musical voices of his generation. “This album allows the world to see how I interpret other composers!”
Daniel Bennett is featured on alto saxophone, flute and clarinet. He’s joined by Koko Bermejo on drums, Jason Yeager on piano, Nat Janoff on guitar and Jeff Dingler on electric bass. On The Deconstructed Songbook reimagines and represents the music in different formats while also making respectful deference to the originals. The exception is Bennett’s composition “The Town Supervisor,” which has been upgraded from the previous release New York Verve.
They begin with Wes Montgomery’s “Road Song,” giving the song new twists with some rather lovely guitar work from Janoff. A lingering, held-back sax delivery from Bennett works around the pervading melody, while adding some improvised input. In fact, everyone gets to solo here, and there is flute too, creating a dense, textured track, which is pleasing – and there is that little off-kilter double bar slotted in twice too.
“The Town Supervisor” is a reminder that this lover of the 8-bar phrase and 4/4 rhythm is working wonders with his sounds, while introducing quirky, explorative rhythm changes and excursions into waltz time. Bennett never fails to surprise, and even if I had him pinned as a modern artist in the traditional style, he blows that apart here with deft changes, a gorgeous piano section, and some well-worked ensemble work.
Horace Silver’s “Nica’s Dream” is treated respectfully, and the delicate swing motion is maintained across the number, while Joni Mitchell’s “Both Sides Now” is worked in a tribute form, but with a twist or two, I reckon Ms Mitchel might approve of.
Harold Arlen’s “My Shining Hour” is an enjoyable number, with plenty of opportunity given to each musician, while Sam River’s “Beatrice” is given the full star treatment and made to sound like it was made for modern jazz ensembles. The Deconstructed Songbook ends with with the Bennett take on Lennon and McCartney’s “Here, There and Everywhere,” which is beautiful, respectful and includes a simply wonderful sax/piano conversation.
Here’s the thing. Daniel Bennett has, for years, portrayed himself as an unpredictable musician, but much of his music is predictable – in the best way, but he likes certain formats and rhythms. It is slightly ironic, but another mark of the continuing development and confidence of this musician – and his ensemble – that he is at his most inventive and lyrical best when interpreting the music written by others.
From the scaffolding of familiar songs, Daniel Bennett weaves colors, blending genres into his jazz style with ease, yet also ensuring his bandmates have plenty of time to shine. They, as ever, come to the fore on solos, little snippets of conversation, and the tapestry of the music is created around the songs and Bennett’s interpretation.
Bennett shines on numbers like “Nica’s Dream” and “My Shining Hour” and uses his warmth of tone on “Both Sides Now.” On this album, Bennett can finally slip into the role he has been carving out for himself as one of the most original and unpredictable musical voices of his generation. Gone is the repeating of the hook lines, and instead comes a new, more vibrant, completely bonkers at times, take on originals.
Bennett is brave and confident. A modern blend of respect for the original, combined with a shoo-in of modernism ensure the listener pays attention. Daniel Bennett manages to get many different ideas into these original tracks, and the choice is brilliant – as is the interpretation.
- The Daniel Bennett Group – ‘The Deconstructed Songbook’ (2026) - April 25, 2026
- Guido Spannocchi – ‘Kammermusik’ (2026) - April 18, 2026
- Mark Wade Trio Comes of Age on the Genuineand Original ‘New Stages’ - April 5, 2026
