PERSONNEL: Chris Stewart, soprano saxophone, alto saxophone; Lucas Pino, tenor saxophone; Dan Delaney, piano, Fender Rhodes electric piano; Chris Finet, acoustic bass, electric bass; Dom Moio, drums.

By Jim Santella

Capturing the feeling that Cannonball Adderley left us through a storied career and an unmistakable alto saxophone technique steeped in the blues, Doc Stewart honors the memory with a fine quintet that’s based in Phoenix, Arizona. Two of Nat Adderley’s best-known compositions, “Jive Samba” and “Work Song,” alone, give the program its stand-out character. Stewart has borrowed the program’s lineup from Adderley’s next-to-last recording, “Phenix”. They’re memorable songs that are not meant to be re-created by just anybody.

“Dis Here” opens with familiar two-horn harmony and oozes with sensual pride. Stewart steers his alto over a mountain range of peaks and valleys, as he interprets the familiar refrain with the same kind of heartfelt charm as the original. He and tenor saxophonist Lucas Pino stretch out for their solos with authority. Both acoustic bass and piano solo liberally throughout the album, giving it a luster that sizzles intensely. The quintet’s arrangements keep them quite close to the original Adderley album. Straight-ahead, acoustic jazz with deep feeling has never gone out of style. Electric bass and soprano saxophone change the colors of “Country Preacher” on cue. Here, the passion is hot, but the mood is subdued. “Walk Tall” and “Mercy, Mercy, Mercy” come with built-in soul, as Fender Rhodes, electric bass and a backbeat drummer provide a solid rhythmic foundation. The quintet has captured the essence hands down. Adderley passed away in 1975 following a stroke. And we’ve been saying “mercy, mercy, mercy” ever since.

Born 1960 in Chicago, Stewart was raised on a farm in Rockford, Illinois. He started playing the alto when Cannonball Adderley was in his prime. After his family relocated to Anaheim, Stewart found that he loved the alto enough to compete for local high school awards, which came easily to him. He eventually went to work playing for audiences at Disneyland. The close-knit Southern California jazz community that surrounds Disneyland nurtured his professional development. He was so immersed in the Southern California jazz scene that Tom Kubis’ 10-piece big band played for Stewart’s wedding. But his thoughts about a career in jazz were eclipsed by the saxophonist’s aim to study medicine. He went to school and studied for the change; but, like most of us, the music was never that far away. Louie Bellson wrote his letter of recommendation for entry into USC’s School of Medicine. Today, Stewart practices medicine as a full-time doctor at the Mayo Clinic Hospital in Phoenix. Part-time, he’s still as active in jazz performance as he was as a teenager. His album comes highly recommended.

Reviewed in Jazz Improv^® Magazine Volume 6, Number 3 ©2006