Review: James Brandon Lewis Quartet’s ‘Abstraction Is Deliverance’

Tenor saxophonist James Brandon Lewis has established himself as the most versatile tenorist on the scene today in a relatively short time. He’s played in classical settings, gospel settings, in a punk trio, with a rock band, and as a sideman for Ches Smith and others. But his most consistent project has been his working quartet of pianist Aruan Ortiz, bassist Brad Jones, and drummer Chad Taylor. Abstraction Is Deliverance (Intakt, 2025), the ensemble’s fifth album, features eight originals and a cover of Mal Waldron’s “Left Alone.” 

Tenor saxophonists have a tradition of delivering ballad albums. We could point to Coleman Hawkins, Ben Webster, Stan Getz, and, of course – the gold standard – John Coltrane’s Ballads (Impulse!, 1963). More recent contributions have come from Michael Brecker, Wayne Escoffery, Jimmy Greene, and many others. Yet, most ballad albums usually consist of familiar standards. While Abstraction Is Deliverance will likely always be considered Lewis’ ballad album, that distinction incorrectly suggests a lack of his trademark ferocity. There is plenty of it here. His pieces, for the most part, are reflective but hardly take us into a romantic or melancholic mood. If you’re centering on original material, Escoffery’s Alone (Smoke Sessions, 2024) or Greene’s Beautiful Life (Mack Avenue, 2014) are better fits. Instead, Lewis brings not merely the reflective, but also the aggressive, the modernist, and the spiritual. Arguably, it’s too convenient and somewhat unfair to label this record as simply a “ballads” album. 

Opener “Ware,” is a modal tribute to the underrecognized saxophonist David S. Ware. Coltrane-like lines soar over bowed bass, cymbal flourishes, and simpatico comping piano. Jones develops a sturdy bassline that takes the tempo up slightly with Ortiz’s single-note runs and Lewis powerfully reaching re-entry, leading to a balance of fierce and tender improvisations. “Per 7” is mostly blues in call-and-response mode with Ortiz. The pace is deliberate, and the effect is deeply soulful. “Even the Sparrow” has an Eastern flavor reminiscent of Alice Coltrane, mused with a deep, prayer-like gospel feel. Taylor, who impresses on every turn, uses his mallets and hi-hat masterfully. Ortiz is subtle in his accompaniment. 

“Remember Rosalind” takes spirituality to a higher level, almost Charles-Lloyd-like in its opening. The meter is odd, Ortiz’s piano glistens, and cymbals crash. Lewis weaves his lines hypnotically as the intensity builds, only to reach calmer waters as they go out. The title track has faint classical strains in the opening. But soon Lewis blows with his trademark ferocity and unbounded energy; the Lewis we know, not a balladeer by any stretch. Taylor’s drumming again is noteworthy and commanding. “Multicellular Beings” returns to spiritual, prayer-like, akin to “Even the Sparrow.”  Listen, though, to Taylor’s skittering snares belying the softer tones of Lewis and Ortiz. “Mr Crick” changes both the tempo and the dynamic. Jones authors a walking bassline, and the tune resounds with the angularity of Ornette, replete with fiery improvisations.

The lone cover, “Left Alone,” was written by Mal Waldron and Billie Holiday in the late ‘50s. Lewis and the quartet infuse the piece with spirituality behind Jones’ arco bass, Taylor’s toms, and Ortiz’s cascading lines. Lewis stays somewhat restrained, occasionally surfacing with potent clusters. The result is sublimely gorgeous. Closer “Polaris” begins with a deliberate single-note intro from Ortiz that evolves into a chamber music-styled melody that reaches heated intensity following Ortiz’s declarative solo, prodded on by Jones and Taylor in the engine room. Yet, somehow, Lewis conjures softer, reflective tones as they exit. 

Call it what you want, but there’s far more than simply ballads here. Abstraction Is Deliverance shows the tight chemistry this quartet has built and is unequivocally one of James Brandon Lewis’ finest efforts.

‘Abstraction is Deliverance’ is out now on Intakt Records. It can be purchased on Bandcamp.