{"id":10753,"date":"2025-06-24T22:01:28","date_gmt":"2025-06-25T03:01:28","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=10753"},"modified":"2025-06-24T22:01:28","modified_gmt":"2025-06-25T03:01:28","slug":"review-abstraction-jbl","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-abstraction-jbl\/","title":{"rendered":"Review: James Brandon Lewis Quartet&#8217;s &#8216;Abstraction Is Deliverance&#8217;"},"content":{"rendered":"\n<p>Tenor saxophonist James Brandon Lewis has established himself as the most versatile tenorist on the scene today in a relatively short time. He\u2019s 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. <em>Abstraction Is Deliverance <\/em>(Intakt, 2025), the ensemble\u2019s fifth album, features eight originals and a cover of Mal Waldron\u2019s \u201cLeft Alone.\u201d&nbsp;<\/p>\n\n\n\n<p>Tenor saxophonists have a tradition of delivering ballad albums. We could point to Coleman Hawkins, Ben Webster, Stan Getz, and, of course &#8211; the gold standard &#8211; John Coltrane\u2019s <em>Ballads <\/em>(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 <em>Abstraction Is Deliverance <\/em>will likely always be considered Lewis\u2019 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\u2019re centering on original material, Escoffery\u2019s <em>Alone<\/em> (Smoke Sessions, 2024) or Greene\u2019s <em>Beautiful Life <\/em>(Mack Avenue, 2014) are better fits. Instead, Lewis brings not merely the reflective, but also the aggressive, the modernist, and the spiritual. Arguably, it\u2019s too convenient and somewhat unfair to label this record as simply a &#8220;ballads&#8221; album.<em>&nbsp;<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_XUYJVJt4_Is\"><div id=\"lyte_XUYJVJt4_Is\" data-src=\"\/\/i.ytimg.com\/vi\/XUYJVJt4_Is\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/XUYJVJt4_Is\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/XUYJVJt4_Is\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Opener \u201cWare,&#8221; 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\u2019s single-note runs and Lewis powerfully reaching re-entry, leading to a balance of fierce and tender improvisations. \u201cPer 7\u201d is mostly blues in call-and-response mode with Ortiz. The pace is deliberate, and the effect is deeply soulful. \u201cEven the Sparrow\u201d 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.&nbsp;<\/p>\n\n\n\n<p>\u201cRemember Rosalind\u201d takes spirituality to a higher level, almost Charles-Lloyd-like in its opening. The meter is odd, Ortiz\u2019s 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\u2019s drumming again is noteworthy and commanding. \u201cMulticellular Beings\u201d returns to spiritual, prayer-like, akin to \u201cEven the Sparrow.\u201d&nbsp; Listen, though, to Taylor\u2019s skittering snares belying the softer tones of Lewis and Ortiz. \u201cMr Crick\u201d 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.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_FW-qXg5ZjYs\"><div id=\"lyte_FW-qXg5ZjYs\" data-src=\"\/\/i.ytimg.com\/vi\/FW-qXg5ZjYs\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/FW-qXg5ZjYs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/FW-qXg5ZjYs\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>The lone cover, \u201cLeft Alone,\u201d was written by Mal Waldron and Billie Holiday in the late \u201850s. Lewis and the quartet infuse the piece with spirituality behind Jones\u2019 arco bass, Taylor\u2019s toms, and Ortiz\u2019s cascading lines. Lewis stays somewhat restrained, occasionally surfacing with potent clusters. The result is sublimely gorgeous. Closer \u201cPolaris\u201d begins with a deliberate single-note intro from Ortiz that evolves into a chamber music-styled melody that reaches heated intensity following Ortiz\u2019s declarative solo, prodded on by Jones and Taylor in the engine room. Yet, somehow, Lewis conjures softer, reflective tones as they exit.&nbsp;<\/p>\n\n\n\n<p>Call it what you want, but there\u2019s far more than simply ballads here. <em>Abstraction Is Deliverance <\/em>shows the tight chemistry this quartet has built and is unequivocally one of James Brandon Lewis\u2019 finest efforts.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018Abstraction is Deliverance\u2019 is out now on Intakt Records. It can be purchased <a href=\"https:\/\/jamesbrandonlewis.bandcamp.com\/album\/abstraction-is-deliverance\">on Bandcamp<\/a>.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tenor saxophonist James Brandon Lewis has established himself as the most versatile tenorist on the scene today in a relatively short time. He\u2019s 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 [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":10769,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":115,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-10753","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2704-1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2Nr","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":6267,"url":"https:\/\/postgenre.org\/staging\/4567\/jbl-newport-jazz-2023\/","url_meta":{"origin":10753,"position":0},"title":"Even the Sparrow: James Brandon Lewis Previews his 2023 Newport Jazz Festival Performance","author":"Rob Shepherd","date":"July 24, 2023","format":false,"excerpt":"Ingrained in jazz, hip hop, punk, gospel, and R&B, tenor saxophonist James Brandon Lewis has discovered a unique way to give equal footing to concepts many would categorically divide. His broad perspective is largely based on his concept of molecular systematic music (MSM). The current subject of Lewis\u2019 doctoral studies,\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/19-DSC09122s-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/19-DSC09122s-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/19-DSC09122s-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/19-DSC09122s-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/19-DSC09122s-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":5804,"url":"https:\/\/postgenre.org\/staging\/4567\/april-2023-capsule-reviews\/","url_meta":{"origin":10753,"position":1},"title":"April 2023 Capsule Reviews","author":"PostGenre Writing Staff","date":"April 27, 2023","format":false,"excerpt":"For April, Brian Kiwanuka and Rob Shepherd provide capsule reviews of four recordings by saxophonists who are pushing music in new directions: Ingrid Laubrock\u2019s\u00a0The Last Quiet Place\u00a0(Pyroclastic, 2023) [which you can also read more about here], James Brandon Lewis\u2019\u00a0Eye of I\u00a0(Anti, 2023), Ben Wendel's All One\u00a0(Edition, 2023), and John Zorn's\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8031,"url":"https:\/\/postgenre.org\/staging\/4567\/pirog-messthetics-jbl\/","url_meta":{"origin":10753,"position":2},"title":"Collaborative High Intensity : A Conversation with Anthony Pirog on &#8216;The Messthetics and James Brandon Lewis&#8217;","author":"Rob Shepherd","date":"March 9, 2024","format":false,"excerpt":"Jazz and punk have long had a fascinating relationship. Mixing both styles dates back to at least fifty years ago, with punk powerhouse The Stooges incorporating jazz-influenced saxophone solos on \"L.A. Blues\" and the title track on\u00a0Fun House\u00a0(Elektra, 1970). Actually, many of the early punk icons were fans of jazz\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/MAIN-PHOTO-_1_credit-Shervin-Lainez1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/MAIN-PHOTO-_1_credit-Shervin-Lainez1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/MAIN-PHOTO-_1_credit-Shervin-Lainez1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/MAIN-PHOTO-_1_credit-Shervin-Lainez1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11528,"url":"https:\/\/postgenre.org\/staging\/4567\/review-chad-taylor-smoke-shifter\/","url_meta":{"origin":10753,"position":3},"title":"Review: Chad Taylor\u2019s \u2018Smoke Shifter\u2019","author":"Jim Hynes","date":"November 6, 2025","format":false,"excerpt":"Drummer\u00a0Chad Taylor\u00a0is perhaps best known for his work as a sideman for the likes of James Brandon Lewis, Marc\u00a0Ribot, Luke Stewart, jaimie branch, and many others, but his latest,\u00a0Smoke Shifter (Otherly Love), is his sixth album as a\u00a0leader. Those aforementioned names suggest an edgy, \u2019out\u2019 approach. Instead, with Smoke Shifter,\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2468.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11207,"url":"https:\/\/postgenre.org\/staging\/4567\/review-chapter-one-caelan-cardello\/","url_meta":{"origin":10753,"position":4},"title":"Review: Caelan Cardello\u2019s \u2018Chapter One\u2019","author":"Jim Hynes","date":"August 31, 2025","format":false,"excerpt":"Caelan Cardello is breaking out. As part of vocalist Tyreek McDole's backing quartet at this summer\u2019s Newport Jazz Festival, the pianist-composer impressed the audience with his comfort with hard swinging numbers and his duetting with McDole on the standard \u201cLush Life.\u201d\u00a0 Few in attendance knew Cardello's forthcoming debut, Chapter One\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10753","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/59"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=10753"}],"version-history":[{"count":2,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10753\/revisions"}],"predecessor-version":[{"id":10786,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10753\/revisions\/10786"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/10769"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=10753"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=10753"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=10753"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}