Bennie Wallace's Sensuous "French Postcard" Is a Sonic Tickler

co-produced by Joe Harley

Hair and beard turned white and wearing the same sunglasses as on 1993's Joe Harley produced The Old Songs (Audioquest AQ 1017) and otherwise looking remarkably unchanged, tenor saxophonist Bennie Wallace and friends turn in a sensual, moody set, beginning with an unusually slinky, conga line take on the old gospel warhorse "Joshua Fit the Battle of Jericho".

With a pair of Bossa Nova classics—"How Insensitive" and "Desafinado" and "The Tennessee Waltz", the ports of call are Brazil and America, not France, though the album title clearly refers more to the album's feel than to anything else—especially on side one.

When Wallace gets charged, as on side two's opener "Handcuffs", his tone gets a harder edge and there's more of a Charlie Rouse feel to some of his excursions. The Wallace penned nod to Charlie Parker era bop gives vibraphonist Simon Moullier and pianist Donald Vega room to move and both do! As does drummer Herlin Riley.

The musicians, with the exception of vibraphonist Simon Moullier —Anthony Wilson, Donald Vega, Peter Washington and Herlin Riley—have long associations with Wallace. The simpatico is evident, especially between the saxophonist and guitarist. You could spend a couple of plays just listening to those two exchange ideas.

"These Foolish Things" returns things to a sexy simmer with Wallace toying with the melody like whoever played sax in Basie's Band (Eddie "Lockjaw" Davis?) on Sinatra at The Sands did on "I've Got a Crush On You" that had Sinatra joking "You Want to Meet On Monday, we'll pick out the furniture?". The sex here is serious.

Wallace's fluid playing is as different from Jerome Sabbagh's halting, breathy style as this all-analog "direct to two-track" James Farber Sear Sound recording is from his work for Sabbagh at Power Station at BerkleeNYC.

In place of Sabbagh's preferred hard L/R soundstage, Farber gives Wallace's group a more integrated, three dimensional stereo picture with instruments spread across the stage. On "Handcuffs" the vibes project vividly center stage almost in your lap, depending upon how far from your speakers you sit. The smaller Sear Sound space produces a cozier, more intimate but no less transparent soundstage. Jazz combo recordings meant to be intimate don't get any better than this. You are in the room.

On the final track, "'round midnight" when the tune ends, the lights go down and if you're lucky you get your "French Postcard". Otherwise you can always play another record.

Coincidentally, the recording took place on two December, 2024 days, the second of which was the 12th— a year ago today. I didn't notice that until just now as I wrapped this one up. Highly recommended late night listening.