Full Review

Orrin Evans, The Red Door Review

Orrin Evans’ latest offering, The Red Door, is a journey through jazz, reverberating with echoes of the past while ushering in an innovative era of this beloved genre. Released under the aegis of Smoke Sessions Records, the album is a set of Evans’ original compositions sprinkled with interesting arrangements that make for an alluring auditory journey. We reviewed Evans’ last album, The Magic of Now, click here to read.

Kicking off with the titular track, “The Red Door,” the listener is immediately swept into Evans’ vibrant realm of jazz that skilfully bridges the old and the new. It’s a joyous whirl of energetic rhythms, intricate horn contributions, and Evans’ fluid piano performance. The collaborative musicianship between Nicholas Payton on trumpet, Gary Thomas on tenor saxophone and flute, Robert Hurst on bass, and Marvin “Smitty” Smith on drums introduces a shared narrative that enhances the album’s allure.

Diving deeper, the composition “The Good Life” emerges as an example of Evans’ jazz storytelling. This track showcases a different ensemble with Larry McKenna on tenor saxophone, Buster Williams on bass, and Gene Jackson on drums. It begins with Evans and Williams establishing a charming mid-tempo swing, subsequently allowing McKenna’s warm tenor saxophone to unfurl a melody steeped in nostalgia and elegance. The trio’s synergy builds a crescendo that symbolizes a dynamic dialogue among instruments. Evans’s subsequent solo resonates with modern jazz’s spirit and unmistakable classic 50s echoes, manifesting the album’s overarching theme of music being made that is informed by the past but not limited to it.

“Big Small,” featuring guest vocalist Jazzmeia Horn, crafts a different sonic story. In this piece, it is Orrin Evans on piano, Nicholas Payton on trumpet, Gary Thomas on tenor saxophone, Robert Hurst on bass, Marvin “Smitty” Smith on drums, and Jazzmeia Horn on vocals. It commences with Hurst’s resonant bass tones, layered with drums and piano, to create a relaxed, moody ambiance tinged with gospel and blues elements. The entrance of Horn, Thomas, and Payton introduces a three-part counterpoint, where Horn’s vocal prowess steals the spotlight. Amidst this dynamic soundscape, Horn’s performance, combined with carefully composed sections involving Evans and Thomas, reveals Evans’ exceptional skill in supporting a vocalist while delivering an eclectic and captivating track.

Interlaced among these essential tracks are other gems like “I Have the Feeling I’ve Been Here Before” and “The Way You Make Me Feel,” in which Evans’s keen sense of melody and intricate orchestration shine. Moreover, familiar standards like “All the Things You Are,” “Autumn Leaves,” and “I’ll Be Seeing You” are treated with reverent innovation, emphasizing Evans’ talent as an arranger.

The Red Door is a spirited voyage through modern jazz, beautifully articulating the tradition’s roots while fearlessly exploring its evolution. This accessible, detailed, and fascinating album encourages listeners to tap their feet, lose themselves in the rhythm, and, most importantly, engage in the musical conversations sparked by Orrin Evans and his ensemble’s compelling performance. It’s a door to a vividly painted music world that, if you open it, promises a memorable journey for anyone who dares to step through and listen. That’s the short of it!