Jeff Walton

Pack Animals

 Jules

Tenor saxophonist and composer Jeff Walton is making his debut with Pack Animals.  His journey to the recording studio is far more unusual than most. He’s a late bloomer, having devoted most of his career to public school teaching and program development. In the meantime, his side hobby was composing and playing gigs as a bandleader around Brooklyn and New York City. Walton now resides in L.A., building a community there as he did in Brooklyn. Walton spent time in jazz but also choral music, contemporary classical, and collective improvisation. He sang in choirs and composed for other wind instruments. These experiences led to meeting some of his bandmates. Through the choral circles, he met drummer and fellow composer Chase Elodia. Elodia introduced him to bassist Eli Heath while pianist Santiago Leibson was a collaborator in the collective improvisation sessions in Brooklyn. All four of them are likely new names to you, as well as yours truly.

To add some perspective, Walton says, “I’ve come to see music not as a career, but as a long conversation that I am lucky to be a part of. On this album, I’m speaking with my influences, teachers, students, and audience, as well as with my past selves. There are pieces that trace back to my time singing in choirs, studying Italian opera, writing short fiction, and teaching drill beats in middle schools. But most of all, this album reflects the musical community I’ve built -first in Brooklyn, and now in Los Angeles. This is the sound of that shared history.”

 Opener “NQT” reveals his robust tone and penchant for counterpoint and high-energy pieces. Flow and rhythm are key to his compositional style, and are in vivid evidence in his playing and pianist Leibson, as well as the bass-drum tandem. “Blues for George” is a burner with Walton blowing mean in the low register, and where, again, each voice shines through. “San Diego” features an unaccompanied tenor intro with the backing trio joining about a minute and a half in. The groove suggests a breezy convertible ride through the city and surrounding environs as Leibon’s piano is effervescent, the group collectively bringing the piece to a definitive climax. The angular, bumpy “Easy Tease” feels like a dance, while closer “Crunch” begins as a ballad that oozes dripping emotion before morphing into more triumphant tones.

The centerpiece is the three-part suite that begins with the title track, a brief piece of tight syncopation. “Orange Away” is a mid-tempo piece that balances group interplay with improvisation, mostly from the leader and bassist Heath. I’m wishing I had more insight into these titles, but I do not. “Ceilings,” more than any of the three, shows how important rhythm and flow are in Walton’s approach, inspired first by the rapping cadences of Wu-Tang Clan.

Walton has plenty of pursuits outside of jazz, but he’s delivered an auspicious debut. Let’s hope he continues to put out jazz releases.

• Jim Hynes

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